吉普赛人说：时间是用来流浪的，身躯是用来做爱的，生命是用来遗忘的——而灵魂，是用来歌唱的。
电影《英国病人》里，曾经有一段揪人心肺的女声，在漫漫黄沙与情人的眼神中升起，宛如大漠孤烟，为乱世里的生离死别做最后的祈祷。那就是“吉普赛之声”。重喉音、花腔与滑音、热烈的吆喝、击掌声，疯狂撩人的Csárdás舞步……
吉普赛人。普希金的茨冈人，雨果的艾丝梅拉达，梅里美/比才的卡门，墨西哥的叶赛尼亚，印度的大篷车。老巫婆说：“你命中注定，会爱上一个黑头发的。”黑头发的叶赛尼亚；黑头发的军官奥斯瓦尔多。:)
吉普赛人说，如果你想让谁时刻思念你，那就准备一个小镜，把自己的照片放在镜子背面，把那人的照片贴在镜面。然后用红布裹好带到那人家中，藏在人家发现不了的地方……
金盏草也是吉普赛人的一个爱情道具。如果你想留住谁，就找到那人完整清晰的脚印，然后将脚印上的土小心翼翼挖下来。把土放花盆里，种上一株金盏草，悉心照料。待金盏草逐渐长大，开花结果，你和他就会有一个如意结局。
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上网的人都是吉普赛人。;)
Csárdás! -The Tango of the East.
Both dances allow a glimpse into the soul of people of a Nation: the Csárdás shows the temperament of Hungarians and Slovaks, the Tango embodies the spirit of Argentineans. These dances may be symbolized as the agents for national cultural identity.
The man and woman mostly hold and embrace each other in close proximity, often in a romantic way.
The Csárdás and the Tango are both rooted in folklore and have exciting regional variants.
Both dances emerged as fashionable entertainment, reaching fad proportions at their height of popularity.
There are slow and fast versions for these dances. The role of the male is clearly defined to be the leader in both dances, the female's role is to follow her partner instinctively.
In both dances, the style of a good male dancer is dynamic and masculine, while the woman shines with her femininity.
Both dances show and demand great individuality.
Although these dances have been danced for many decades, they are always fresh and they continue to develop due to their highly improvisational nature.
http://csardas.org/pages.php?&menuid=1
Bohemia - the state of mind and way of life began in about 1830, the year of literary and political revolution and continued until 1914, the year in which the 19th century really ended. For men of genius and distinction like Gautier, Baudelaire, and Verlaine, Bohemia was a golden but transient experience.It was a time and place where artists of all types spent their lives outside society, choosing penury, squalor and freedom over prosperity and convention.
"The Spirit of Bohemia" focuses on what we consider to be the true Bohemia - Paris of the 1800's - the original Bohemian period. Here you will also find London of the late 1800's, as well as several 20th century periods including post-World War II, the Beat and Psychedelic movements.
The Bohemian, strictly speaking, is a native of Bohemia, a gipsy who leads a vagabond and independent life.
Bohemians have come to include all those artists and musicians, actors and poets, of every degree, who choose to lead a life outside society.
The would-be writer in his garret in the Latin Quarter, the perpetual student on the Left Bank, the misfit with artistic pretentions, the noctambulist, the dandy on the fringe of cultural life: all of them are naturalised Bohemians.
http://www.bohemiabooks.com.au/eblinks/spirboho/index.html
《萨拉萨蒂流浪者之歌》，又名《吉普赛之歌》，小提琴独奏曲中不朽的名篇。萨拉萨蒂的作品自始至终十分讲究效果和技巧，都是纯粹的小提琴作品。这一首乐曲是萨拉萨蒂所有作品中最为世人所熟悉的名作，它那回肠荡气的伤感色彩与艰涩深奥的小提琴技巧所交织出来的绚烂效果，任何人听后都会心荡神驰不已。
吉普赛民族在世界上分布广泛，但都是从不定居的流浪民族，世世代代过着清苦而又饱受歧视的生活，但这个民族活泼、乐观、能歌善舞。作者萨拉萨蒂运用十分恰当的手笔描写了这一民族性格的几个侧面，并使小提琴的旋律性与技巧性得到相当完美的结合。本曲中的管弦乐伴奏部分，也是作者亲自编配的。
全曲共分为四个部分：
……
这里选录的是钢琴伴奏的小提琴独奏曲。
http://www.hongen.com/art/gdyy/amqbl/ga52601.htm
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