Scottish Highland cattle are the oldest registered breed of cattle with a Herd Book being published in 1885. They lived for centuries in the rugged remote Scottish Highlands. The extremely harsh conditions created a process of natural selection, where only the fittest and most adaptable animals survived to carry on the breed.
They have a long, close history of living with humans. Early Scots would keep the cows downstairs to provide warmth for the family on the second story and to make sure the neighbors didn't help themselves to the family's wealth. Regardless of where they are located today, Highland cattle can always trace their ancestry to Scotland.
Scotch Highland Cattle seem to enjoy harsh conditions in which many other breeds would perish. It is not unusual to see Highlands grazing a day or two after a winter storm with snow still melting off their backs. Their double coat of hair (long, coarse, outer layer and soft wooly inner layer) means that the animals do not have to produce a layer of fat to stay warm.
The Scottish Moo Coo is calm, does not stress easily, and is easy to work with despite its long horns. The horns are used primarily for knocking down brush to graze on, predator control and scratching. Horns on females are generally upswept and finer textured than are the males. Male horns are more forward pointing and massive. Cows are noted for being highly devoted and protective mothers.
Highlands eat what other cattle pass by ... and get fat on it! Highlander cows will average 900-1200 pounds when mature. Bulls will average from 1500 to 2000 pounds. Unlike other breeds, they are slow maturing which makes their meat fine textured, succulent, exceptionally tender and of high flavour.
The British Royal family keeps a large herd of Highlands at Balmoral Castle, Scotland, and considers them their beef animal of choice. A rare opportunity for commoners to eat like royalty.
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Thursday, August 30, 2012
Tuesday, August 28, 2012
Till Eulenspiegel - The Merry Prankster
Till Eulenspiegel was a 14th Century peasant whose pranks and drollness were the subject of widespread tales. The name Eulenspiegel literally means "owl glass" or "owl mirror". These devices also appear on Eulenspiegel's gravestone in Mölln in Schleswig Holstein, Germany. Metaphorically his name has been interpreted as "wise reflection," as Eulenspiegel was widely understood to be holding up a mirror by which society could judge itself.
Till's pranks were harmless, and their effect was soon gone. His artful shrewdness generally depended on a pun. But Eulenspiegel was able to victimize anyone, innocent or deserving. He was a mischief maker bent on deceit. While he did trick the dishonest, harsh, cruel, stupid, conceited, obnoxious, boring and pretentious - in short, the deserving - he also preyed on the naive, the gullible and the innocent. His tales are often explained as learned reflections on society, religion, education and political systems of the day. By satirizing and making fun of these institutions while taking advantage of their members, his tales were a popular source of laughter and relief from the uncertainty of everyday life.
It is safe to say that Eulenspiegel was a unique, complex and mysterious character, not at all what we infer from the title of Richard Strauss' symphonic poem, "Till Eulenspiegel's Merry Pranks." He died in 1350 of the Black Death. Following ancient custom, his body had been placed in a casket formed by the hollowed out trunk of a tree. As the tree was being lowered on two ropes into his grave, the rope at his feet broke, and the tree fell into the grave, leaving Eulenspiegel standing upright. It was quickly agreed, "Let him stand. As he was odd while he lived, he ought to be odd in death too." The grave was closed with Till Eulenspiegel standing upright. A specially carved gravestone, showing an owl clutching a mirror and providing his epitaph, was placed on his grave.
In the early 1500's the tales of Eulenspiegel were printed in one or more Early New High German language versions; the sole surviving copy is in the British Library, London. Often vulgar and scatological, both in language and story device, they were wildly popular in the "fool's literature" of 16th century. Everyone who could read was ready for a laugh, particularly when it came at someone else's expense. The books have been translated, often in mutilated versions, into many languages. The full narrative of Eulenspiegel's adventures, of which there are 95, was translated to English by Paul Oppenheimer. However, Oppenheimer's translation of the original tales of Tyl Eulenspiegel reveals something quite unexpected: 16th century humor, reflecting the social and moral climate of the times, seems harsh, unforgiving, and hurtful.
Order your "Till Eulenspiegel - The Merry Prankster" Print at
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or
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Till's pranks were harmless, and their effect was soon gone. His artful shrewdness generally depended on a pun. But Eulenspiegel was able to victimize anyone, innocent or deserving. He was a mischief maker bent on deceit. While he did trick the dishonest, harsh, cruel, stupid, conceited, obnoxious, boring and pretentious - in short, the deserving - he also preyed on the naive, the gullible and the innocent. His tales are often explained as learned reflections on society, religion, education and political systems of the day. By satirizing and making fun of these institutions while taking advantage of their members, his tales were a popular source of laughter and relief from the uncertainty of everyday life.
It is safe to say that Eulenspiegel was a unique, complex and mysterious character, not at all what we infer from the title of Richard Strauss' symphonic poem, "Till Eulenspiegel's Merry Pranks." He died in 1350 of the Black Death. Following ancient custom, his body had been placed in a casket formed by the hollowed out trunk of a tree. As the tree was being lowered on two ropes into his grave, the rope at his feet broke, and the tree fell into the grave, leaving Eulenspiegel standing upright. It was quickly agreed, "Let him stand. As he was odd while he lived, he ought to be odd in death too." The grave was closed with Till Eulenspiegel standing upright. A specially carved gravestone, showing an owl clutching a mirror and providing his epitaph, was placed on his grave.
In the early 1500's the tales of Eulenspiegel were printed in one or more Early New High German language versions; the sole surviving copy is in the British Library, London. Often vulgar and scatological, both in language and story device, they were wildly popular in the "fool's literature" of 16th century. Everyone who could read was ready for a laugh, particularly when it came at someone else's expense. The books have been translated, often in mutilated versions, into many languages. The full narrative of Eulenspiegel's adventures, of which there are 95, was translated to English by Paul Oppenheimer. However, Oppenheimer's translation of the original tales of Tyl Eulenspiegel reveals something quite unexpected: 16th century humor, reflecting the social and moral climate of the times, seems harsh, unforgiving, and hurtful.
Order your "Till Eulenspiegel - The Merry Prankster" Print at
Fine Art America
or
Download the royalty-free digital photo 'Till Eulenspiegel - The Merry Prankster' directly from:
CT-Graphics.com
- Royalty Free Photographs for Print and Web
- Image Customization
- Old or Damaged or Polaroid Photo Restoration
- Conversion of Slides and Paper Pictures to Digital (CD/DVD)
- Picture Postcards - Calendars - Greeting Cards
Photography lovers who liked this also liked:
Photography lovers who liked this also liked:
fairy tales art
fairy tales canvas prints
fairy tales framed prints
fairy tales acrylic prints
fairy tales metal prints
fairy tales prints
fairy tales posters
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folk hero canvas prints
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