Ezekiel 1

1And it cometh to pass, in the thirtieth year, in the fourth [month], in the fifth of the month, and I [am] in the midst of the Removed by the river Chebar, the heavens have been opened, and I see visions of God.

2In the fifth of the month -- it is the fifth year of the removal of the king Jehoiachin --

3hath the word of Jehovah certainly been unto Ezekiel son of Buzi the priest, in the land of the Chaldeans, by the river Chebar, and there is on him there a hand of Jehovah.

4And I look, and lo, a tempestuous wind is coming from the north, a great cloud, and fire catching itself, and brightness to it round about, and out of its midst as the colour of copper, out of the midst of the fire.

5And out of its midst [is] a likeness of four living creatures, and this [is] their appearance; a likeness of man [is] to them,

6and four faces [are] to each, and four wings [are] to each of them,

7and their feet [are] straight feet, and the sole of their feet [is] as a sole of a calf's foot, and they are sparkling as the colour of bright brass;

8and hands of man under their wings -- on their four sides, and their faces and their wings -- [are] to them four;

9joining one unto another [are] their wings, they turn not round in their going, each straight forward they go.

10As to the likeness of their faces, the face of a man, and the face of a lion, toward the right [are] to them four, and the face of an ox on the left [are] to them four, and the face of an eagle [are] to them four.

11And their faces and their wings are separate from above, to each [are] two joining together, and two are covering their bodies.

12And each straight forward they go, whither the spirit is to go, they go, they turn not round in their going.

13As to the likeness of the living creatures, their appearances [are] as coals of fire -- burning as the appearance of lamps; it is going up and down between the living creatures, and brightness [is] to the fire, and out of the fire is going forth lightning.

14And the living creatures are running, and turning back, as the appearance of the flash.

15And I see the living creatures, and lo, one wheel [is] in the earth, near the living creatures, at its four faces.

16The appearance of the wheels and their works [is] as the colour of beryl, and one likeness [is] to them four, and their appearances and their works [are] as it were the wheel in the midst of the wheel.

17On their four sides, in their going they go, they turn not round in their going.

18As to their rings, they are both high and fearful, and their rings [are] full of eyes round about them four.

19And in the going of the living creatures, the wheels go beside them, and in the living creatures being lifted up from off the earth, lifted up are the wheels.

20Whither the spirit is to go, they go, thither the spirit [is] to go, and the wheels are lifted up over-against them, for a living spirit [is] in the wheels.

21In their going, they go; and in their standing, they stand; and in their being lifted up from off the earth, lifted up are the wheels over-against them; for a living spirit [is] in the wheels.

22And a likeness [is] over the heads of the living creatures of an expanse, as the colour of the fearful ice, stretched out over their heads from above.

23And under the expanse their wings [are] straight, one toward the other, to each are two covering on this side, and to each are two covering on that side -- their bodies.

24And I hear the noise of their wings, as the noise of many waters, as the noise of the Mighty One, in their going -- the noise of tumult, as the noise of a camp, in their standing they let fall their wings.

25And there is a voice from above the expanse, that [is] above their head: in their standing they let fall their wings.

26And above the expanse that [is] over their head, as an appearance of a sapphire stone, [is] the likeness of a throne, and on the likeness of the throne a likeness, as the appearance of man upon it from above.

27And I see as the colour of copper, as the appearance of fire within it round about, from the appearance of his loins and upward, and from the appearance of his loins and downward, I have seen as the appearance of fire, and brightness [is] to it round about.

28As the appearance of the bow that is in a cloud in a day of rain, so [is] the appearance of the brightness round about.

THE SHIELD-MAIDEN

I dreamed about swords last night.
I dreamed about battle last night.
I dreamed I fought by your side
armoured and strong, last night.

Lightning flashed harsh from your hand,
and the giants fell at your feet.
Our ranks closed lightly and sang
in silent darkness' threat.

I dreamed about blood last night.
I dreamed about death last night.
I dreamed I fell by your side
with a mortal wound, last night.

You marked not at all that I fell.
Earnest was your mouth.
With steady hand the shield you held,
and went your way straight forth.

I dreamed about fire last night.
I dreamed about roses last night.
I dreamed my death was fair and good.
So did I dream last night.

-Karin Boye

If you want money in your pocket
and a top hat on your head
a hot meal on your table
and a blanket on your bed
well today is grey skies
tomorrow is tears
you'll have to wait til yesterday is here
Well I'm going to New York City
and I'm leaving on a train
and if you want to stay behind and
wait til I come back again
well today is grey skies
tomorrow is tears
you'll have to wait til yesterday is here
If you want to go
where the rainbows end
you'll have to say goodbye
all our dreams come true
baby up ahead
and it's out where your memories lie
well the road's out before me
and the moon is shining bright
what I want you to remember
as I disappear tonight
today is grey skies
tomorrow's tears
you'll have to wait til yesterday is here


(Waits / Brennan)

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O futuro a poucos pés...

(thx, nihilbabe)

Grande, grande jogo, o melhor duelo de todos os tempos. Se apanhares o anão perdi, mas temos 3:1 a meu favor a 3 turnos. Mesmo que desvies os reforços e limpes o Thimrath, não te safas.

Olha, lá se foram.

Go Bohemians go!

The Gods

On dark nights gods come.
They walk between the houses
like tall black towers,
with darting eyes.

With hard hands they feel the roofs,
they speak the language of men
who lived on the earth before us
and died and went away.

In the morning sometimes there's a rock in front of the door
and a broken stone wall at the side of the road
and in the field the print of heavy foot
and in the sky the reflection of violent storms.

- Gregor Strnisa

Down it goes.
Shitting away one last
bout of hypochondria
like newborn worlds out
of some aussie outback whore
Backtracking my way
through another five
ten pages of the latest
blood work stool samples nerve
mustard cambodian loempia snack.
On to the den with my jeans
belted around my ankles
buckle dragging chink-a-clack
as with the Scottish undead
walking armour
Still the colours so vivid.

Adicionei 61 pessoas no myspace. 96.45% dessas 61 pessoas declaram no perfil "I don't want kids." Porque será?

Marta, ouve isto.

Como?!?!?!?!

A folha em branco está, sabes, a tornar-se outra vez o eco das luzes na noite, uma espécie de farol com mesas abertas sobre pernas maduras. Não posso imolar contos à memória das nuvens mais impossíveis, não quero caber na prosa ilustre do cinismo instituído.
A partir de hoje és tu que traduzes a palavra cúmplice - dou-te a paisagem sem tréguas dos meus furores gratuitos. Faz com ela o resto da fome imprevista. Desejo-te nos elos que ligam aquilo que não escreves, procuro que nos possuamos como penhor da coincidência, caução do fantástico. Sabias que um amigo ousou um dia não haver ouro na mina? E que essa mesma partícula entre os mundos diurnos falou-me ontem de um sono que nos faria satélites? É verdade. Não posso a neve eterna nem quero contar lapsos a golpes de copo. O jarro preferível é sempre uma cópia, pálida e esdrúxula, do teu peito razão para a noite ventre e conforto.
Talvez te deseje nas curvas da estrada. Talvez desenhe penínsulas ocultas. Talvez a pele não termine onde supomos o ar.
Fica escrito no sol mais distante que a tua mão pariu estes minutos.

Catharsis, Latin from the Greek Katharsis 'purification', is a sudden emotional breakdown or climax that constitutes overwhelming feelings of great pity, sorrow, laughter, or any extreme change in emotion that results in the renewal, restoration and revitalization for living.

Catharsis is a form of emotional cleansing first defined by the Greek philosopher Aristotle. It refers to the sensation, or literary effect, that would ideally overcome an audience upon finishing watching a tragedy. The fact that there existed those who could suffer a worse fate than them was to them a relief, and at the end of the play, they felt ekstasis (literally, astonishment), from which the modern word exstasis and ecstasy are derived. While seemingly related to schadenfreude, it is not, however, in the sense that the audience is not intentionally led to feel happy in light of others' misfortunes; in an invariant sense, their spirits are refreshed through having greater appreciation for life.

In literary aesthetics catharsis is developed by the conjuction of stereotyped characters and unique or surprising actions. Throughout a play we do not expect the nature of a character to change significantly, rather pre-existing elements are revealed in a relatively straight-forward way as the character is confronted with unique actions in time. This can be clearly seen in Oedipus Rex where King Oedipus is confronted with ever more outrageous actions until emptying generated by the death of his mother-wife and his act of self-blinding. As a literary effect, catharsis should be compared with the equivalent effects for epic and poetic forms of kairosis and kenosis.

In contemporary aesthetics catharsis may also refer to any emptying of emotion experienced by an audience in relation to drama. This exstasis can be perceived in comedy, melodrama and most other dramatic forms. Deliberate attempts, on political or aesthetic bases, to subvert the structure of catharsis in theatre have occurred. For example, Bertold Brecht viewed catharsis as a pap for the bourgeois theatre audience, and designed dramas which left significant emotions unresolved, as a way to force social action upon the audience. In Brecht's theory, the absence of a cathartic resolving action would require the audience to take political action in the real world in order to fill the emotional gap they experience. This technique can be seen as early as his agit-prop play The measures taken.

All hands that work
And tired fall down in the evening
And tired, tired fall asleep,
Silently clasp in the night;
Silently into the distance open the eyes,
So that peaceful and good is the heart.

-Srecko Kosovel

The Corporate Bullshit Generator %)

http://members.aol.com/matt999h/bullshit.htm

que crime de lesa-eternidade ver demais para quem morre antes dos 200.

ESCLARECIMENTO

Quando estamos cansados
deitamos o corpo
e adormecemos

às vezes não

procuramos outra mão
outros olhos
que nos limpem a fadiga
e evitem o sono
que nos vem antigo

quando estamos cansados
podemos erguer o corpo
e acordar
e morrer acordados
sem cansaço

-Mário-Henrique Leiria


(vindo da Ju que hoje foi a mão, os olhos)

Why do I desire What I do not need? Why does my soul, like fire, Or a hot abstract greed, Seek all that is higher? Why, if not because It is a soul? Who can know the cause When it lies in its whole Hidden in laws? Yet this matters not. What matters is pining And that stress of thought That comes of diving What to wish that may not be got.

- Fernando Pessoa

( The Trial of Hank Rearden from 'Atlas Shrugged' by Ayn Rand)

According to the procedure established by directives, cases of this kind were not tried by a jury, but by a panel of three judges appointed by the Bureau of Economic Planning and National Resources; the procedure, the directives had stated, was to be informal and democratic. The judge's bench had been removed from the old Philadelphia courtroom for this occasion, and replaced by a table on a wooden platform; it gave the room an atmosphere suggesting the kind of meeting where a presiding body puts something over on a mentally retarded membership.

One of the judges, acting as prosecutor, had read the charges.
"You may now offer whatever plea you wish to make in your own defence," he announced. Facing the platform, his voice inflectionless and peculiarly clear, Hank Rearden answered:
"I have no defence."
"Do you --" The judge stumbled; he had not expected it to be that easy. "Do you throw yourself upon the mercy of this court?"
"I do not recognise this court's right to try me."
"What?"
"I do not recognise this court's right to try me."
"But, Mr. Rearden, this is the legally appointed court to try this particular category of crime."
"I do not recognise my action as a crime."
"But you have admitted that you have broken our regulations controlling the sale of your Metal."
"I do not recognise your right to control the sale of my Metal."
"Is it necessary for me to point out that your recognition was not required?"
"No. I am fully aware of it and I am acting accordingly."

He noted the stillness of the room. By the rules of the complicated pretence which all those people played for one another's benefit, they should have considered his stand as incomprehensible folly; there should have been rustles of astonishment and derision; there were none; they sat still; they understood.
"Do you mean that you are refusing to obey the law?" asked the judge.
"No. I am complying with the law - to the letter. Your law holds that my life, my work and my property may be disposed of without my consent. Very well, you may now dispose of me without my participation in the matter. I will not play the part of defending myself, where no defence is possible, and I will not simulate the illusion of dealing with a tribunal of justice."
"But, Mr. Rearden, the law provides specifically that you are to be given an opportunity to present your side of the case and to defend yourself."
"A prisoner brought to trial can defend himself only if there is an objective principle of justice recognised by his judges, a principle upholding his rights, which they may not violate and which he can invoke. The law, by which you are trying me, holds that there are no principles, that I have no rights and that you may do with me whatever you please. Very well. Do it." "Mr. Rearden, the law which you are denouncing is based on the highest principle - the principle of the public good."
"Who is the public? What does it hold as its good? There was a time when men believed that 'the good' was a concept to be defined by a code of moral values and that no man had the right to seek his good through the violation of the rights of another. If it is now believed that my fellow men may sacrifice me in any manner they please for the sake of whatever they deem to e their own good, if they believe that they may seize my property simply because they need it - well, so does any burglar. There is only this difference: the burglar does not ask me to sanction his act."

...

"Are we to understand," asked the judge, "that you hold your own interests above the interests of the public?"
"I hold that such a question can never arise except in a society of cannibals."
"What ... do you mean?"
"I hold that there is no clash of interests among men who do not demand the unearned and do not practice human sacrifices."
"Are we to understand that if the public deems it necessary to curtail your profits, you do not recognise its right to do so?"
"Why, yes, I do. The public may curtail my profits any time it wishes - by refusing to buy my product."
"We are speaking of ... other methods."
"Any other method of curtailing profits is the method of looters - and I recognise it as such."
"Mr. Rearden, this is hardly the way to defend yourself."
"I said that I would not defend myself."
"But this is unheard of! Do you realise the gravity of the charge against you?"
"I do not care to consider it."
"Do you realise the possible consequences of your stand?"
"Fully."
"It is the opinion of this court that the facts presented by the prosecution seem to warrant no leniency. The penalty which this court has the power to impose on you is extremely severe."
"Go ahead."
"I beg your pardon?"
"Impose it."
The three judges looked at one another. Then their spokesman turned back to Rearden. "This is unprecedented," he said.
"It is completely irregular," said the second judge. "The law requires you submit to a plea in your own defence. Your only alternative is to state for the record that you throw yourself upon the mercy of the court."
"I do not."
"But you have to."
"Do you mean that what you expect from me is some sort of voluntary action?"
"Yes."
"I volunteer nothing."
"But the law demands that the defendant's side be represented on the record."
"Do you mean that you need my help to make this procedure legal?"
"Well, no ... yes ... that is, to complete the form."
"I will not help you."

...

"That is the flaw in your theory, gentlemen," said Rearden gravely, "and I will not help you out of it. If you choose to deal with men by means of compulsion, do so. But you will discover that you need the voluntary co-operation of your victims, in many more ways than you can see at present. And your victims should discover that it is their own volition - which you cannot force - that makes you possible. I choose to be consistent and I will obey you in the manner you demand. Whatever you wish me to do, I will do it at the point of a gun. If you sentence me to jail, you will have to send armed men to carry me there - I will not volunteer to move. If you fine me, you will have to seize my property to collect the fine - I will not volunteer to pay it. If you believe that you have the right to force me - use your guns openly. I will not help you to disguise the nature of your action."

The eldest judge leaned forward across the table and his voice became suavely derisive: "You speak as if you were fighting for some sort of principle, Mr. Rearden, but what you're actually fighting for is only your property, isn't it?"

"Yes, of course. I am fighting for my property. Do you know the kind of principle that
"You pose as a champion of freedom, but it's only the freedom to make money that you're after."
"Yes, of course. All I want is the freedom to make money. Do you know what that freedom implies?"
"Surely, Mr. Rearden, you wouldn't want your attitude to be misunderstood. You wouldn't want to give support to the widespread impression that you are a man devoid of social conscience, who feels no concern for the welfare of his fellows and works for nothing but his own profit."
"I work for nothing but my own profit. I earn it."
There was a gasp, not of indignation, but of astonishment, in the crowd behind him and silence from the judges he faced.

...

If it is now the belief of my fellow men, who call themselves the public, that their good requires victims, then I say: The public good be damned, I will have no part of it!"

nao duvides, ainda hoje no esteio de mais um enterro
dei comigo a procurar
sobretudo a liberdade
como alias la fora

e os torroes caiam, caiam, caiam
sobre o ataude polido e garboso
cantava jantares oferecidos e eu, ainda eu
vertiamos ar seco para dentro do poço
entre pontas de odor a arvoredo
pude ver a filha
em bicos de pes
alcançar o ombro do meu amigo
que cor terá a mao no ombro de um qualquer
meu amigo
quando eu seguir os meus pais na rota verdejante?
qual sera a medida do cansaço dos outros?
e ainda sem pronomes, ves
evitar os extremos, os nomes, que sao pontas arriscadas
nao venha um azar cortejar favores do demiurgo
e assim sempre escrevemos mais uma linha.