terça-feira, 15 de setembro de 2015

.






The Hebrew Bible contains a particularly puzzling little book known as the Song of Songs. It is also known as the Song of Solomon or as Canticles. The book appears to be a collection of poetry on the theme of human love. It was "the most frequently interpreted book of medieval Christianity". The Song of Songs has played a fascinating role in Western culture. It has been a test case and a workshop for allegorical method. It has been a mainstay of asceticism and an impetus for mysticism.









domingo, 23 de setembro de 2007

sábado, 21 de julho de 2007


<
"I know that you are enduring patiently and bearing out for my namesake.
But I have this against you

That you have abandoned the love you had."



















“Until the day break, and the shadows flee away, Turn, my beloved, and be like a gazelle Or a young stag on the mountains of Bether.”










“For behold, the winter is past,
The rain is over and gone.


12 ‘The flowers have already appeared in the land;
The time has arrived for pruning the vines,

And the voice of the turtledove has been heard in our land.


13 ‘The fig tree has ripened its figs, And the vines in blossom have given forth their fragrance. Arise, my darling, my beautiful one, And come along!’”




































Sigmund Freud
Analyse this
Analyse this
Analyse this, this, this….










I'm gonna break the cycle
I'm gonna shake up the system




______
Gravura:"Lunar Madonna and Child From a 15th century woodcut by the German master Albrecht Durer, this image connects the Queen of Heaven with her ancient roots of maternal and natural cycles. Church fathers discouraged Mary worship, recognizing her as one with ancient Mother Goddesses such as Aphrodite, Ishtar of Mari, Isis, Maya, Shakti, etc. Nonetheless by the Middle Ages she was firmly entrenched in the hearts of common folk as the deification of Mercy and
Compassion.All the great cathedrals were temples in honor of Notre Dame."



quarta-feira, 4 de julho de 2007
















Yo lo
confieso,
que tiene muchos entendimientos; mas el alma que esté abrasada de amor que la desatina, no quiere ninguno sino decir estas palabras; sí, que no se lo quita el Señor"

( Meditaciones 1.11).















"Nenhum texto em toda a história mundial recebeu tantas traduções e interpretações como O Cântico dos Cânticos, afirma Geraldo Holanda na apresentação de seu estudo sobre o texto bíblico. O fascínio que o texto sempre exerceu em poetas, em literatos e no público em geral rendeu-lhe, desde a Antigüidade até nossos dias, inúmeras traduções, análises e interpretações, marcando a literatura e a cultura ocidentais de forma significativa."







1 O cântico dos cânticos, que é de Salomão.
2
Beije-me ele com os beijos da sua boca; porque melhor é o seu amor do que o vinho.
3 Suave é o cheiro dos teus perfumes; como perfume derramado é o teu nome; por isso as donzelas te amam.
4
Leva-me tu; correremos após ti. O rei me introduziu nas suas recâmaras; em ti nos alegraremos e nos regozijaremos; faremos menção do teu amor mais do que do vinho; com razão te amam.

5
Eu sou morena, mas formosa, ó filhas de Jerusalém, como as tendas de Quedar, como as cortinas de Salomão.




"Of all Teresa's works, the Meditations on the Song of Songs provoked the most hostile reaction from the Inquisition. Although Domingo Báñez signed one of the manuscripts of the Meditations to indicate his approval on 10 June 1575, in 1580, Diego de Yanguas, another of Teresa's confessors and a theologian of the Inquisition, ordered her to destroy the manuscript and all copies."
Jerónimo Gracián, who published the first edition of the work in 1611 in Brussels, maintains in the introduction that Yanguas condemned the work because reading Scripture defied the limitations Paul had placed on women's participation in the Church, not because he found any heretical statements.


But one of her confessors, thinking it a new and dangerous thing that a woman should write on the Song, ordered this book to be burned, moved with zeal for Saint Paul's instruction that women should keep silence in the Church of God. This meant that they should not preach in churches, nor give lectures nor print books. And because at the time she wrote the Lutheran heresy was doing great damage, opening the door for women and the ignorant to read and explicate the divine Word ... it seemed to him that the work should be burnt.[30]



Teresa is said to have burned the manuscript in his presence, but some of the numerous copies already made by her nuns survived in convent libraries.

Luis de León left the Meditations out of his 1588 edition of her works, possibly because having spent nearly five years (1572-1577) in prison for translating the Song of Songs from the Hebrew, he did not wish to risk his truce with the Inquisition.[31]












1 Eu sou a rosa de Sarom, o lírio dos vales.
2 Qual o lírio entre os espinhos, tal é a minha amada entre as filhas.
3 Qual a macieira entre as árvores do bosque, tal é o meu amado entre os filhos; com grande gozo sentei-me à sua sombra; e o seu fruto era doce ao meu paladar.
4 Levou-me à sala do banquete, e o seu estandarte sobre mim era o amor.
5 Sustentai-me com passas, confortai-me com maçãs, porque desfaleço de amor.
6 A sua mão esquerda esteja debaixo da minha cabeça, e a sua mão direita me abrace.
7 Conjuro-vos, ó filhas de Jerusalém, pelas gazelas e cervas do campo, que não acordeis nem desperteis o amor, até que ele o queira.
8 A voz do meu amado! eis que vem aí, saltando sobre os montes, pulando sobre os outeiros.
9 O meu amado é semelhante ao gamo, ou ao filho do veado; eis que está detrás da nossa parede, olhando pelas janelas, lançando os olhos pelas grades.
10 Fala o meu amado e me diz: Levanta-te, amada minha, formosa minha, e vem.
11 Pois eis que já passou o inverno; a chuva cessou, e se foi;
12 aparecem as flores na terra; já chegou o tempo de cantarem as aves, e a voz da rola ouve-se em nossa terra.
13 A figueira começa a dar os seus primeiros figos; as vides estão em flor e exalam o seu aroma. Levanta-te, amada minha, formosa minha, e vem.
14 Pomba minha, que andas pelas fendas das penhas, no oculto das ladeiras, mostra-me o teu semblante faze-me ouvir a tua voz; porque a tua voz é doce, e o teu semblante formoso.
15 Apanhai-nos as raposas, as raposinhas, que fazem mal às vinhas; pois as nossas vinhas estão em flor.
16 O meu amado é meu, e eu sou dele; ele apascenta o seu rebanho entre os lírios.
17 Antes que refresque o dia, e fujam as sombras, volta, amado meu, e faze-te semelhante ao gamo ou ao filho dos veados sobre os montes de Beter.





"Probably because the Song so aroused his sexual desire Origen prohibited reading it to all but the most spiritually advanced: "I advise and counsel everyone who is not yet rid of the vexations of flesh and book and has not ceased to feel the passion of his bodily nature, to refrain completely from reading this little book."
[42]

Teresa seems to know the tradition of restricting readership of the Song, but possibly because for her the Song releases passions more various than specifically libidinal, she gives the words of the Song a role in creating her spiritual interpretation of it:

People will say that I am a fool, that the words [of the first line of the Song] don't mean this, that they have many meanings, that obviously we must not speak such words to God, that for this reason it is good that simple people do not read these things. I confess that the passage has many meanings. But the soul that is enkindled with a love that makes it mad desires nothing else than to say these words. Indeed, the Lord does not forbid her to say them. (Meditations[43] 1.10)

The Song itself has a materiality for her.

And I interpret the passage in my own way, even though my understanding of it may not be in accord with what is meant.... I hold it as certain that we do not offend Him when we find delight and consolation in His words and works. (Meditations 1.8)[44]

the words of the Song cloak profound mysteries (Meditations 7.1) and tremendous secrets (Meditations 4.1), the allegorical or spiritual senses.

Reading the text of the Song, in which Teresa considers that God "humbled" Himself as in the Incarnation, provides her a sensory pleasure equivalent to meditating on the body of Christ."




1 Quão formosos são os teus pés nas sandálias, ó filha de príncipe! Os contornos das tuas coxas são como jóias, obra das mãos de artista.

2 O teu umbigo como uma taça redonda, a que não falta bebida; o teu ventre como montão de trigo, cercado de lírios.

3 Os teus seios são como dois filhos gêmeos da gazela.

4 O teu pescoço como a torre de marfim; os teus olhos como as piscinas de Hesbom, junto à porta de Bate-Rabim; o teu nariz é como torre do Líbano, que olha para Damasco.

5 A tua cabeça sobre ti é como o monte Carmelo, e os cabelos da tua cabeça como a púrpura; o rei está preso pelas tuas tranças.

6 Quão formosa, e quão aprazível és, ó amor em delícias!

7 Essa tua estatura é semelhante à palmeira, e os teus seios aos cachos de uvas.

8 Disse eu: Subirei à palmeira, pegarei em seus ramos; então sejam os teus seios como os cachos da vide, e o cheiro do teu fôlego como o das maçãs,

9 e os teus beijos como o bom vinho para o meu amado, que se bebe suavemente, e se escoa pelos lábios e dentes.

10 Eu sou do meu amado, e o seu amor é por mim.

11 Vem, ó amado meu, saiamos ao campo, passemos as noites nas aldeias.

12 Levantemo-nos de manhã para ir às vinhas, vejamos se florescem as vides, se estão abertas as suas flores, e se as romãzeiras já estão em flor; ali te darei o meu amor.

13 As mandrágoras exalam perfume, e às nossas portas há toda sorte de excelentes frutos, novos e velhos; eu os guardei para ti, ó meu amado.











.














"the words of the Song cloak profound mysteries (Meditations 7.1) and tremendous secrets (Meditations 4.1)"


---


Anne Bancroft, "origins of the sacred", p.175-175:

There was one [deity] who was never absorbed, however, and who came to be looked upon as a 'horned devil' by the Christians [...] The green man or wild man can be seen in a church such as Sampford Courtnay in Somerset. The remarkable horned mask of the Dorset Ooser (recently stolen) shows the need people continued to have for contact with the supernatural animal world. The church, of course, strongly opposed any celebration of this sort:

If anyone at the calends of January goes about as a stag or a bull; that is, making himself into a wild animal and putting on the heads of beasts; penance of three years, because this is devilish.












i will make my way, through, one more day in hell...
i will hold the candle till it burns up my arm
i'll keep takin' punches until their will grows tired
i will stare the sun down until my eyes go blind
hey i won't change direction, and i won't change my mind
i'll swallow poison, until i grow immune
i will scream my lungs out till it fills this room