Se a música de sua vida
Está assim desafinada;
Se você não vê saída
E tudo resulta em nada...
É só tristeza, incerteza,
Descaso, cansaço...

Se as notas de sua canção
Estão assim desencontradas;
Se o que há é confusão
E a sua melodia é mal tocada...
É incompreensão, desconsideração,
Muito delírio, tanto martírio...

Se a sua vida não tem harmonia
E tudo, tudo se desestruturou...
E o que foi uma sinfonia,
Agora é só pausa, pois se calou...
É ausência, tanta carência,
Afastamento, fingimento...

Se a sua música desafinou,
Se suas notas emudeceram,
Se a sua canção silenciou
E se as pausas apareceram...

Então, já está na hora:
A mudança é sem demora!
Saia desse tom menor,
Fuja desse som tristonho
Volte a viver o seu sonho
Ouse querer uma vida melhor!

Coloque-se no ritmo acertado,
Venha, mas para o compasso ansiado,
Module agora, de uma vez só:
Entregue-se a Deus
- O Grande Compositor –
A sua especialidade é o Amor.
E Seu toque modulará você
Para viver dessa vez
O incrível e maravilhoso
Tom Maior!

Kutsher's Resort. (Kate Glicksberg)

"It's the kind of place homeless Jews come to get bar mitzvahed," joked the comedian Joe Derosa, referring to Kutsher's, the run-down Catskill Mountain resort in Monticello, N.Y., that has clearly seen better days. Still, its storied history never included anything quite like All Tomorrow's Parties, a large, experimental U.K. music festival held here last weekend and bringing roughly 3,000 of the indiest of indie rock kids to the borscht belt complex.

Helen Kutsher. (Kate Glicksberg)

"It makes me very happy having all these young people here," said Helen Kutsher, the hotel’s matriarch. Kutsher’s, once a regular stop for borscht belt royalty like Jackie Mason, Joan Rivers, Alan King and Shecky Green as well as contemporary (sorta) comedians like Billy Crystal and Jerry Seinfeld and … er … Yakov Smirnov, has been in business since 1907 and is the last remaining family-run resort in the Catskills.

Between the 1930s and the 1970s, the hotel and its neighboring resorts provided New Yorkers, most often Jewish immigrants and their upwardly mobile offspring, an affordable respite -- much like the setting of 1987's kitsch classic "Dirty Dancing," for which Kutsher's was supposedly an inspiration (prompting festival goers to repeat ad infinitum Patrick Swayze's classic line, "Nobody puts baby in a corner!"). In less than two hours by car, urbanites could have a cheap all-inclusive vacation to the "Jewish Alps," complete with top-shelf entertainment.

All Tomorrow's Parties continues in the same tradition -- if the entertainers had been avant-garde-leaning cacophonous rock musicians. Amplified noise in all its permutations was the order of the day with Irish shoe gazers My Bloody Valentine headlining the wondrous Stardust Ballroom with a sonically assaultive set. Other highlights of the three-day festival included the warm and trippy Spectrum (with Pete "Sonic Boom" Kember of Spacemen 3), the fierce riot-inducing duo Lightning Bolt and the sonorous techno-inflected sounds of Germany's Harmonia (featuring members Neu! and Cluster). Thankfully an old-school hip-hop set by E.P.M.D. offered both nostalgia — of a different sort than a set by Shecky Green — and a welcome relief from the aural maelstrom.

While Mrs. Kutsher enjoyed the festivities, she was a bit taken aback by the casual dress code of the attendants -- distressed T-shirts, flip-flops, shorts. "It used to be people would dress up here," she explained. "It would be 150 degrees outside and you would see women in fur coats and the men wearing hats -- none of this short pants."

But perhaps it is this informal younger generation who can best help restore the dilapidated borscht belt to its former grandeur. These once-glorious resorts likely weren’t on the list of must-see places for any of the young attendees, yet the culture collision felt oddly right (though basic amenities like edible food, for example, would have been nice). To wit, All Tomorrow's Parties has already booked Kutsher's for 2009.

Read previous Andrew Gensler columns.

   This design "Green" por Lemon is providential to the conception of Group of Investigation III:Quirón,in part because the myth this master-hero Quirón(To read TAG The myth of Quirón/O mito do herói),and because the relations myth and symbolls.The tree in your simbolism simple is considered to to be home of spirituals powers,symboll of re-birth of life than always win the death.The  green tree is symboll f immortality.Due your roots in earth,your strong trunk ascending in vertical form and the top  in direction to sky is to much time symboll of the union between the cosmic sphere and the subterranean world of earth,between life n earth and the sky.The tree has relation to World Tree,and World Axle.In Nordic Mythology has the Cosmic Ash-Tree Yggdrasil,than to much etymilogists is origin of the name Brasil,and the relation of wood  "Pau-Brasil" with this cosmic tree.

      The tree like symboll than it must be so:give  always than is possible to children and teenagers  firms roots,they like  and need of to have the foots in earth,and the head,mind iluminnated by sky,and in sky,for to have growth,flowering strongs,productives,and to give to much

fruits in this Group of Work,like in life.

                In greek language tree meaning drus,than meaning oak, sacred tree of Zeus.The  celtic mythology  present the expression druids,than are the priets,wises  of this people.The druids made your reunions in forest,and in special for to enter contact with superior world,with your gods,with your rituals in oak.The relations  of this  wises of celtic mythologythe simbolism of the trees, greek mythology,Zeus and oak,ans Quirón than made your life in forest,with relation with nature in this  design is the simbolism and harmony. And to have the  green color,color of  cure,of mediation,of hope,of longevity,of immortality,of material and spirutual salvation,of  wisdom and of the prophets.To much scientists,artists,writers was prophets,making  in your minds,works, a future, than a day transform yourself in matter after to much time . 

        ( Este design " Green"  by Lemon  é providencial para a concepção do Grupo de Pesquisa III :Quirón,em parte devido o mito deste mestre-herói Quirón(Ler TAG The myth of Quirón/O mito de Quirón),e devido as relações mito e símbolos.A árvore em seu simbolismo  simples é venerada por ser morada de poderes numinosos,símbolo do renascimento da vida que sempre vence a morte,a conífera verde é um símbolo da imortalidade.Por suas raízes presa à terra,seu tronco robusto subindo verticalmente e a copa que dirige-se para o céu é muitas vezes símbolo da ligação entre a esfera cósmica e o mundo subterrâneo ctônico,entre a vida na terra e no céu.Relaciona-se à Árvore  do Mundo,e Eixo do Mundo.Na mitologia nórdica há o Freixo Cósmico Yggdrasil,de onde dizem muitos etimologistas foi retirado o nome Brasil,e da relação da madeira Pau-Brasil com essa árvore cósmica.

         A árvore também como sinal de que devemos oferecer sempre que for possível às crianças e jovens raízes ,elas devem ter os pés na terra,e a cabeça,a mente iluminada pelo céu,e no céu,para que cresçam,floresçam fortes e produtivas,dando muitos frutos tanto aqui neste Grupo de trabalho,como na vida.

                 Em grego árvore significa  drus,que também significa carvalho,árvore sagrada de Zeus. A mitologia celta apresenta o termo druidas,que são os sacerdotes,sábios deste povo.Os druidas faziam suas reuniões nas florestas,e especificamente entravam em contacto com o plano superior,com seus deuses,através de rituais no carvalho.E relacionando esses sábios da mitologia celta,os simbolismos das árvores,a mitologia grega,Zeus e o carvalho,e Quirón que vivia nas florestas,tinha relação com a natureza,  esse design reflete esses simbolismos  e harmonia.Para além do fato da cor verde,cor da cura,da mediação,da esperança,da longevidade,da imortalidade,da salvação material e espiritual,da sabedoria e dos profetas.Muitos cientistas,artistas,escritores foram profetas,construindo em suas mentes,trabalhos, um futuro,que materializava-se muito tempo depois.)

Wow, what a day.  First we get the first anouncement for the BDO and now ATP makes its debut appearance on in OZ. Check this out....

Curated by the Nick Cave & the Bad Seeds, the lineup is:

Nick Cave + the Bad Seeds, The Saints, Spiritualized, The Necks, Harmonia, Fuck Buttons, Silver Apples, M Gira, James Blood Ulmer, Robert Forster, Afrirampo, Bridezilla, Laughing Clowns + more to be announced November 5th.

Thankfully we all don't have to make the trip to Mt Buller in VIC as there will be events featuring the acts in Brisbane and in Sydney (part of the Sydney Festival 2009).

Tickets on sale NOW for Mt Buller and SYD/BNE will be on sale on November 10th from Ticketek.

Check the ATP website for more details.

If you haven't heard of James Blood Ulmer... check the legend here:

I trudno o polemikę kiedy patrzy się na realizacje  Kelly Hoppen. W tym projekcie świetnie połączyła proste formy z uniwersalną bielą w bazie. Proporcje całości są dobrze wyważone, a dzięki zamontowaniu za mleczną szybą oświetlenia, masywna zabudowa z półek na całą ścianę jest dyskretna i elegancka . Mebel zręcznie łączy rolę ścianki działowej i miejsca na dekorację, bo pełnię urody kolorowego szkła dostrzegamy właśnie dzięki przenikającemu światłu. 
Ostatecznie projektantka wykreowała miejsce przytulne, spokojne ale nie monotonne. Nieliczne akcenty żółcieni, pomarańczu i koralowej czerwieni dodają świeżości i radości oraz nadają przestrzeni rytm i harmonię. Świetny przykład jak uniknąć "szpitalnego" efektu przy zastosowaniu takiej ilości bieli jednocześnie. No i doskonały punkt wyjścia do zmian w przyszłości bez generalnego remontu :-)

Dia 18 de setembro começou a Semana Nacional do Trânsito!

Durante esta semana vi varias ações acontecendo na rede relacionadas ao trânsito.

Dois dias atrás, 22 de setembro, foi o Dia Mundial do "sem carro", quando todos fomos convidados a utilizar algum outro tipo de transporte que não fosse carro.

Outra ação que esta correndo por ai é a campanha "Reinventamos Caminhos" , fiquei viciada no "Caronator", segundo joguinho da campanha (falei sobre o primeiro joguinho, que chama Formigator, a alguns posts atrás).

E recentemente fui apresentada a  campanha "Harmonia no Trânsito" que esta com um site cheio de dicas educativas e presentes para fazer download.

Este ai do lado é o selo de apoio a campanha! Para ir até o site é só clicar em cima dele.

O DEZMÃOS apoia a harmonia no trânsito!!!

E eu quero aproveitar para dar um recadinho para minha mãe: "para de colocar a cabeça para fora da janela e chingar a mãe do motorista que te cortou!!!"

.. e aproveitando, quero parabeniza-la também: "é tão lindinho quando você da carona para os amigos para diminuir o número de carros na rua".

Por fim, minha vasculhada publicitária em relação a semana foi esta! E apesar de serem ações publicitárias, estas ações que eu pontuei aqui são também ações sociais, reflexo da sociedade e do caos que vivemos. Apesar da frase blasé, só depende de nós melhorar.

Mais imagens em Scienceray

Fonte: Scienceray

Shogun Kunitoki

Tasankokaiku (Fonal 2006)

http://www.mediafire.com/?hdjt1ugtzii

To many, the sounds of buzzing drones, endless riffs and repetitive chords may appear to be little more that a masturbatory exercise. To me, these are ecstatic moments that put me into a mental space where music becomes something spiritual and magical. I love a well-crafted pop song, driving punk scuzz and elegant classical composition that inspire me to reach for a snifter of brandy. Well, that last reference was a bit fancy for my cruddy mitts, but it does actually happen on occasion. However, there are certain albums that whisk you off into a nodding daze where you can only focus on each progression even though you know the next step is much like the one taken just moments earlier. Terry Riley, Aphex Twin, Seefeel, Morton Feldman, Sleep and others occupy this mental suite, but another has wormed its way into my heart, rendering the others sloppy seconds in my noggin.

Shogun Kunitoki are the ones who have occupied this treasure space in my heart for over year. Drawing from the krautrock masters, Harmonia, Neu, Cluster and Kraftwerk while paying slight tribute to minimalist composers Steve Reich and Charlemagne Palestine. The band crafts interlapping waves of organ playing with sudden swooshes of psychedelic effects that are tempered by a restrained, but focused rhythms that bring it all back into your general orbit. Some psychedelic albums inspire mental sludge while others conjure lofty, ethereal moods, but Tasankokaiku makes my mind feel like a tangled army  of cheap Christmas lights set ablaze during the last moments before Santa Claus rockets down my chimney. If this was released 30 years ago, you would all revere their very name, but they are ours at this very moment and deserve your adulation. This is the sound of repetition at its most audacious and complex. The layers upon layers of organ provide moments not unlike those when you first heard your first krautrock album and wondered where in the holy hell this music has been your entire life.

Para mim, não existe sentimento mais infundado que raiva, ou ódio.

Todo e qualquer sentimento negativo destrói nossa alma e, às vezes, nosso discernimento por dentro. É algo que as pessoas tem o (péssimo) costume de carregar. E eu digo: raiva pra quê?

Por isso, eu jamais carrego sentimentos negativos sobre ninguém. É importante, na vida, saber deixar partir. Quando existem pessoas com raiva (ou ódio) de algo ou alguém, isso cega. E é uma pena, por que existem tantas coisas no mundo para se preocupar, tantas pessoas para ajudar, tanto o que fazer, e perde-se tempo sentindo ira.

Infelizmente, todos nós temos alguém que sinta raiva ou qualquer outro sentimento negativo sobre a gente, não importa se você tenta sempre ser uma pessoa melhor. A questão é como administramos isso no nosso dia-a-dia.

E tudo o que podemos fazer, claro, é sempre, todos os dias, tentar dar o seu melhor. E sublimar, por mais que isso nos entristeça, tudo de negativo que quer nos atingir. Vale a pena, a cada dia, mostrar que somos pessoas que sabemos lidar com esse tipo de coisa, e podemos seguir nossas vidas, felizes, com a consciência que o quanto de amor, carinho e amizade que recebemos é mais que suficiente para vencer o que nos mandam de negativo.

É um assunto a se refletir...

Bom dia a todos!

A verdade, é que essa tal criança existe, e em nós vive. Claro que falo de nós mesmos.

Nós somos aquela criança que dizemos existir dentro de nós.

E que, infelizmente, só a deixamos «viver» em alguns, e poucos, momentos da nossa vida.

No entanto, não falo só daqueles momentos em que nos portamos de forma menos adulta, quando fazemos alguma tolice, ou até mesmo, quanto brincamos e  lembramo-nos como se fossemos uma criança.

Também pode ser, mas na realidade estou a falar daqueles momentos em que pensamos de coração como uma verdadeira criança. Criança que não sabe o significado do mal e que só pensa em praticar e cultivar o bem, com a sua inocência e pureza.

Aí, nesses momentos, libertamos a criança que há em nós.

Contudo, não podemos andar por aí a fazer tudo o que queremos e bem nos apetece, justificando os nossos actos com a simples frase: «eu sou uma criança e não fiz por maldade.».

Não!

Isso seria usar como máscara, algo puro e inocente para esconder o nosso lado menos bom.

Não, isso está completamente errado.

Libertar a criança que há em nós, é pensar como ela, é agir sobre tudo e todos como uma criança faria. Sem maldade, sem ódio, sem terceiras intenções, em suma, fazer tudo de coração aberto.

Para sermos felizes, para estarmos em harmonia connosco mesmos, e com os outros, basta-nos dar vida á criança que em nós habita.

Não importa a pessoa, o sexo, o nível de vida, etc, todos nós temos esse dom e essa capacidade

Nem mesmo a idade importa. Pois a nossa idade não é aquela que vem nos papéis, pois essa é uma idade artificial.

A nossa verdadeira idade é como nos sentimos connosco mesmos, como agimos e somos perante os outors e como somos energéticamente na nossa mente.

Ter uma mente sã e cheia de energia positiva, é viver sempre em plena juventude. E, estamos a dar vida à tal criança que vive em nós.

Desse modo, o mundo, a nossa vida, e tudo o que nos envolve, ganham outra cor e outra alegria.

Se pensassemos como uma criança, não haveria guerras entre os Homens;

Se agissemos como uma criança, a destruíção do nosso planeta seria algo nunca imaginável e/ou pensável;

Se andassemos bem-dispostos como uma criança, viveríamos numa sociedade una e plena de harmonia;

Se rissemos como uma criança, de nós mesmos, e dos outros, sem maldade, todos nós seriamos alegres e viveríamos como uma família alegre, em que a tristeza perderia o seu lugar e sentido;

Se olhassemos o mundo, e o que nos rodeia, como uma criança, tudo seria harmonioso, e o Homem cuidaria do planeta como um filho, com carinho e amor;

Se tivessemos um coração puro e inocente de uma criança, tudo seria vida e os animaizinhos viveriam em paz e liberdade, sem medo do desrespeito do Homem.

Não haveria maldade sobre a Terra, tudo seria alegria e vida, longe da maldade que um dia o Homem ousou criar.

Aí sim, a vida seria vida.

A Felicidade seria, então, um bem geral e uniforme.

Desde aí, passaríamos a olhar a nossa vida com outros olhos, e agradeceríamos a Deus pelo dom de viver, pela vida.

Tudo isto, porque um dia, libertamos algo de mais puro que temos em cada um.... a crinaça em nós.

Marta Costa

Plantão | Publicada em 12/09/2008 às 19h06m

Geralda Doca e Henrique Gomes Batista - O Globo

http://oglobo.globo.com/economia/mat/2008/09/12/lina_maria_vieira_troca_superintendente_da_receita_federal_em_sao_paulo-548201427.asp

BRASÍLIA - A Receita Federal anunciou nesta sexta-feira a primeira mudança na cúpula do Fisco desde que Lina Maria Vieira assumiu o órgão. A troca será em São Paulo: o próximo superintendente do Fisco no estado será Luiz Sérgio Fonseca Soares. Ele assumirá no lugar de Edmundo Rondinelli Spozino, que estava no cargo há quatro anos. A mudança será publicada no Diário Oficial da União de segunda. Segundo a Receita, a mudança serve apenas para que a nova secretária monte sua equipe. Fontes do órgão esperam novas mudanças nos próximos dias. 

------------------------------------

Comentário do blog:

Se o novo superintendente da 8a RF - Luiz Sérgio Fonseca Soares - é quem estou pensando, e não um homônimo, já trabalhei com ele, na Alfândega do Aeroporto Internacional do RJ, onde exerceu a função de Inspetor ou seu substituto (falha-me agora a memória). Fui checar. Apenas confirmei que foi (antes disso, acredito) Inspetor da Alfândega do Aeroporto Tancredo Neves (vide http://www.receita.fazenda.gov.br/Historico/SRF/Historia/sintesehistorica/sintese_a.htm). De fato, seu currículo é notável. Sob esse aspecto, acredito que foi perfeita a escolha.

Atualmente, segundo consta no link a seguir, exerce (ou exercia, não sei) mandato sindical (Presidente da DS/BH do sindicato da outra categoria da carreira Auditoria (DIRETORIA DS/BH 2007/2009)): http://www.unafiscobh.org.br/diretoria.htm

Claro que esta avaliação é muito subjetiva: nas condições de pessoa, colega (acho que posso chamar assim), chefe, administrador, as lembranças que dele tenho são boas. Nem por isso, gostaria de deixar passar em branco a percepção de que, no auge do acirramento de rivalidades existentes entre as categorias que integram a carreira Auditoria, as reclamações que sempre fizemos de que alguns administradores tendem a se comportar como verdadeiros sindicalistas - já não menciono o caso do agora superintendente Luiz Sérgio, espero que não venha a merecer essas palavras, apenas peguei o "gancho" - acabem se tornando ainda mais evidentes: agora, para quem já não se sentia à vontade em ser chefiado por integrantes de categoria que vem se demonstrando, por intermédio de seu sindicato, historicamente rival dos Analistas-Tributários, não deixa de existir um temor natural de que dirigentes, ou ex-dirigentes, filiados e "simpatizantes" daquele sindicato passem a exercer de fato a administração da RFB, e que venham ali fortalecer teses que somente interessam à defesa dos atuais monopólios atributivos, em detrimento da situação funcional de outras categorias, e, direta ou indiretamente, em prejuízo de um serviço público eficiente.

De acordo com o estudo, se o gato for adotado antes do cão e se os dois forem apresentados enquanto jovens (menos de 6 meses para o felino e um ano para os cachorros), há uma maior probabilidade de que eles se dêem bem.

"Esta é a primeira vez que alguém faz uma pesquisa científica sobre bichos de estimação que vivem na mesma casa", afirma Joseph Terkel, professor do Departamento de Zoologia da Universidade de Tel Aviv e líder da pesquisa.

Para conduzir o estudo, os cientistas entrevistaram cerca de 200 pessoas que tinham gatos e cachorros convivendo na mesma casa e filmaram o comportamento dos animais.

Depois de analisarem os vídeos, os pesquisadores da Universidade de Tel Aviv concluíram que, em determinadas condições, o bom relacionamento entre as duas espécies é possível.

Segundos os dados computados pelos cientistas, em dois terços das casas havia uma boa convivência entre as espécies, enquanto brigas foram observadas em apenas 10% dos casos.

Problemas de comunicação

A principal razão dos desentendimentos é o fato de os membros das duas espécies terem dificuldades de se comunicar entre si.

Gatos, por exemplo, costumam sacudir a cauda quando estão nervosos, enquanto cachorros rosnam e ficam com as costas arqueadas. Por outro lado, quando estão felizes, gatos costumam ronronar, enquanto cães balançam o rabo.

“Descobrimos, no entanto, que é possível que gatos e cachorros aprendam a se entender”, explica o professor Terkel, que destaca que as duas espécies, quando convivendo desde filhotes, conseguem desenvolver meios de se comunicar.

Segundo o professor, uma vez que gatos e cachorros estejam familiarizados com a linguagem um dos outros, é possível que eles brinquem e até durmam juntos.

A pesquisa foi publicada na revista científica Applied Animal Behaviour Science.

Fonte: BBC

SIgo servindo certo da Salvação em Cristo!

João Guilherme dos Anjos

We always make assumptions. About horses and about everything. About some people, about some situations… We create our movie, a story of facts that we take for granted. One day we stored our beliefs and now we can justify whatever.
It’s easy to assure that a horse will have a specific behavior just because it’s from a specific breed. It’s also easy to assure that a person will react in some manner just because “that’s what everybody does” in the same situation.
Don’t we see that each horse and each person is unique? Maybe they have common characteristics with other individuals of the same environment but we’re unique, with our own special features.
Why don’t we try to observe and ask? Although sometimes it seems difficult, it’s easy to ask a person. And yes, we can also ask a horse, they’re not just made to obey…
We can change our mind: we can observe how they respond to the stimulus we give. Ask what we want, and also answer when it’s required.
Why don’t we start from the beginning? Are we in a hurry? We think we gain time making “assumptions” but sometimes we end up with bad results. We can invest our time observing, asking… we create a solid base and we don’t have any doubt about anything. We don’t take anything for granted, thus it will be difficult to get to an embarrassing confusion.
And, as usually, the relation we have with horses is reflected in the relation we have with our life, with people and with ourselves. It would be nice to use what we learn from them, wouldn’t it?

Suposicions

Sempre fem suposicions. No només sobre els cavalls; sobre tot. Sobre com és la gent, sobre com són les situacions... Ens muntem la nostra pel·lícula, una història de fets que donem per segurs, sobre qualsevol cosa. Partim de creences establertes sobre tot i tenim facilitat per justificar-les.
Ens és fàcil assegurar que un cavall tindrà un cert comportament perquè és d’una raça concreta. O que una persona actuarà d’una manera determinada perquè és “el que fa tothom” en la mateixa situació.
No ens adonem que cada cavall i cada persona són únics? Potser tenen trets comuns amb altres individus del seu entorn però no deixen de ser únics, amb les seves pròpies particularitats.
Perquè no ens parem a observar i preguntar? A les persones, encara que de vegades no ho sembli, és fàcil preguntar. I sí, a un cavall també li podem preguntar, no estan fets només per obeir...
Podem canviar el xip: observar com responen als estímuls que els oferim. Demanar què volem, preguntar, i també respondre quan correspongui.
Perquè no començar de zero? Tenim pressa? El temps que ens sembla que guanyem amb les nostres "suposicions" molts cops ens porta a resultats que no ens satisfan. Si invertim el nostre temps en observar, preguntar, demanar... creem una base sòlida i sense dubtes en qualsevol relació. No hem donat res per fet així que serà difícil que arribem a alguna molesta confusió.
I, com sempre, la relació amb els cavalls es reflexa en la relació que tenim amb la vida en general, amb la gent i amb nosaltres mateixos. Estaria bé aprofitar el que aprenem amb ells, no?

Olga Valls

Cykl
"Prawem wszechświata jest fakt, ze odwet, nienawiść i zemsta są jedynie kontynuacja cyklu, nie zaś jego końcem."

Oczywistość
"Możemy zauważyć piękno wazonu z kwiatami na stole, lecz kwiaty nigdy nie opowiadają nam o swym pięknie. Nigdy nie usłyszymy, jak chwalą się słodkim zapachem.
Podobnie jest z człowiekiem, który osiągnął nirwanę. Nie musi wtedy nic mówić. Możemy wyczuć jego piękno, jego słodycz, wystarczy być obok."

Droga środka - równowaga między mądrością a współczuciem.
"Pewnego razu stary rolnik znalazł na swym polu umierającą kobrę. Widząc cierpienie kobry, rolnik pełen byl współczucia. Podniósł węża i zaniósł do domu. Nakarmił go tam ciepłym mlekiem, owinął w miękki koc i, pełen miłości, położył obok siebie w łóżku i zasnął. Następnego ranka - nie żył.

Dlaczego został zabity? Ponieważ wykazał jedynie współczucie a nie mądrość. Jeśli dotkniesz kobry, ugryzie cię. Jeżeli znajdziesz sposób, aby pomoc kobrze nie podnosząc jej, znalazłeś równowagę miedzy współczuciem a mądrością. "

Tajemnica
Czy uwolnienie od cierpienia zabiera dużo czasu?
Nie, oświecenie zawsze zdarza się tu i teraz, ale zrozumienie tego zając może wiele żywotów ludzkich.

Droga środka
Znajduje się ona ponad wszelką dwoistością i przeciwieństwem. Czasem nazywamy ja równowagą. Równowaga harmonizuje wszelkie skrajności. Równowaga jest jak dobrze nastrojona struna instrumentu, nie za mocno i nie za lekko. Wibruje idealnie i wybrzmiewa cudowna muzyka.

Wolność od walki
Równowaga oznacza nieobecność walki, Pewnego razu wielki słoń wskoczył do kałuży z błotem aby się ochłodzić. Oczywiście utknął w niej. Im bardziej usiłował się z niej wydostać, tym, głębiej się zapadał!
Walka jest bezużyteczna.
Pogarsza jedynie stan rzeczy. Nie walcz z cierpieniem. Znajdź swoja własną drogę.

Budda ponad skrajnościami
Zanim Budda rozpoczął swa duchowa podroż, doznawał zmysłowych rozkoszy rożnego rodzaju, nie odnalazł jednak trwałego szczęścia. Pościł potem przez wiele tygodni, aż zbladł i schudł, odnalazł jednak tylko ból. Praktyki te uzmysłowiły Buddzie, że zarówno rozpusta jak i umartwianie się - to skrajności, a skrajności nigdy nie prowadza do szczęścia.

Pokój nadchodzi dopiero wtedy, gdy przestajemy walczyć z przeciwieństwami. Droga środka nie ma początku ani końca, nie musimy zatem iść daleko - aby znaleźć na niej pokój.

Pytanie o oświecenie
Pewien mądry pasterz unitarianski zapytał mnie:
- Gdzie jest nirwana? Czy ludzie mogą wciąż jeszcze osiągnąć nirwanę?.
Odpowiedziałem:
-Nirwana jest tu i teraz.
Nirwana jest wszędzie. Nie znajduje się w jakimś określonym miejscu. Może zostać odnaleziona w chwili obecnej. Nirwana to nieobecność cierpienia. Jest pusta, wolna od koncepcji. Nic nie może objąć nirwany. Nirwana znajduje sie poza przyczyna i skutkiem. Nirwana to największe szczęście. To pokój absolutny. Pokój na świecie zależy od warunków, ale pokój nirwany jest niezmienny.

Karma a nirwana
Nirwana to nieobecność karmy, owoców naszych działań. Karma może podążać za nami przez wiele wcieleń. Kiedy umieramy, karma jest jak płomień przechodzący z jednej świecy na druga. W stanie nirwany nie istnieje przywiązanie, oczekiwanie ani żądza. Każda chwila jest świeża, nowa i niewinna. Cala karma zostaje zmazana, jak taśma magnetofonowa.

Cytaty pochodzą z : Maha Ghosanada - Krok po kroku

Maha Ghosanada - charyzmatyczny mnich, mistrz medytacji i dyplomata, uczestnik misji ONZ - pochodzący z objętego wojną kraju - Kambodży.  Jako jeden z nielicznych mnichów buddyjskich, przeżył krwawy reżim Pol Pota.
Znany był z wyjątkowego umysłu, biegle władał piętnastoma językami - był duchowym przywódcą ludzi ocalałych spod władzy Czerwonych Khmerów. Propagował na świecie ideę pokoju i pojednania.  Zmarł w 2007 roku.
Jego hasłem przewodnim stało się :
"Nienawiść nigdy nie poloży kresu nienawiści,
uleczy ją miłość jedynie.
Oto starożytne i odwieczne prawo. "

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O amor de duas pessoas inteiras é bem mais saudável. Nesse tipo de ligação, há o aconchego, o prazer da companhia e o respeito pelo ser amado."
(Flávio Gikovate, médico psicoterapeuta)

Não é o texto todo, mas é a parte essêncial dele.
Quem não gostaria de, ao invés das "duas metades da laranja", unir "duas inteiras"?

O suco deve ser muito melhor ;]

Kulturystyka i Fitness – 7-8/2008
Numer: 7-8/2008
Data wydania: 01.07.2008

KiF to profesjonalny magazyn sportowy promujący uprawianie ćwiczeń siłowych i fitness zarówno w wydaniu wyczynowym jak i rekreacyjnym. Powiemy Ci jak kształtować sylwetkę, budować mięśnie, spalać tkankę tłuszczową.

Znajdziesz tutaj sprawdzone zestawy ćwiczeń siłowych dla mężczyzn i dla kobiet, o różnym stopniu trudności i zaawansowania. Poznasz tajniki optymalnego odżywiania. Dowiesz się, jakie odżywki i suplementy pomagają w utrzymywanie dobrej formy fizycznej i psychicznej. Razem z KiF zbuduj zgrabną, umięśnioną, wysportowaną sylwetkę. Zadbaj o sprawność i kondycję na całe życie.

W tym numerze m.in.:

Kulturystyczna kuracja odchudzająca: Wielka akcja organizowana przez jednego z kulturystów

Salto na fortepianie: Karolina Perz i jej droga do sukcesu

Ozimek Superstar: Norbert Ozimek

Nigdy nie jest za późno: Jerzy Pisulski - aktualny mistrz Polski i Europy w kulturystyce klasycznej

Kulturystyka na całe życie: Rozmowa z animatorem akcji "...chudniesz - wygrywasz... zdrowie!", Konradem Gacą

Trudna droga do mistrzostwa: Krzysztof Radzikowski

Żelazny chwyt: Przedramiona prawie jak u Pauzaniasza. To możliwe!

Kondycja w podróży i na urlopie: Trening wakacyjny na łonie natury

Kalejdoskop ćwiczeń

Bestia na wybiegu: Jakie miny jest w stanie zrobić kulturysta...?

Wakacje: Odpocząć czy trenować?

Jak "zbrzydnąć", żeby wygrać: Co trzeba zrobić ze swoim ciałem, żeby mieć szanse na zwycięstwo?

Odwodnienie: Kulturyści piją jak smoki

Odwodnienie: Jak do niego nie dopuścić i czym ono grozi?

Serwatka czy kazeina: Co lepsze?

Wszyscy lubimy czekoladę: Dr Petr Fort

Przewodnik dla początkujących: 12-tygodniowy cykl treningów

Kulturystyka a zdrowie: Co robić, aby uprawiając kulturystykę, pozostawać w harmonii z kanonami zdrowia?

Kulturystyczny poradnik żywieniowy: Co i kiedy jeść?

Zobacz:

Więcej szczegółów
Okładka
Spis treści
Numery archiwalne

„Yang" i ”Yin" nie są dwiema samodzielnymi ”siłami", jak się czasem określa, lecz stanowią dwie skrajne i przeciwne sobie odmiany energii Chi, a tym samym - dwie przeciwstawne sobie właściwości organizmu, przyrody, wszechświata.
Yang i Yin są określeniem przeciwieństw w naturze, w kosmosie i w człowieku.

Jako dwa odmienne bieguny Yang i Yin znajdują się w każdej substancji jednocześnie, wszakże nie mogą istnieć samodzielnie, nie mogą być rozdzielone, lecz egzystują we wzajemnym powiązaniu, w stałej równowadze i harmonii.

Zachwianie równowagi między nimi prowadzi do zachwiania w świecie procesów przemian kierujących zjawiskami życia i zjawiskami przyrody (homeostazy).
Równowaga ta nie jest jednak statyczna, lecz ciągle, rytmicznie się zmienia, niosąc ze sobą elementy tworzenia i niszczenia, wspierania i zwalczania, dążąc do przewagi jedna nad drugą, ma więc charakter dynamiczny.

W pojęciu staro chińskiego systemu filozoficznego taoizmu nie ma we wszechświecie organizmu, zjawiska przyrody, czy procesu fizycznego lub chemicznego, słowem niczego, w czym nie byłoby konkurencji  tych dwóch przeciwstawnych biegunów, odmian energii Chi.

Dlatego też Yang i Yin są określone jako prawo jedności lub walki przeciwieństw. Te dwie przeciwstawne sobie fazy Chi zmieniają się, przechodzą w siebie, a każda z nich zawiera odrobinę drugiej.
Przedstawia to najlepiej tzw. chińska monada, gdzie kolor jasny to Yang, a ciemny to Yin.

W kolorze jasnym jest cząstka ciemnego Yin (Mały Yin), a w ciemnym - cząstka jasnego Yang (Mały Yang).

W starych księgach piszą, że pod wpływem emocji Yang może przechodzić w Yin i odwrotnie. Zalecane przez taoistów spokój i medytacje pozwalają na przejście Yin w Yang.

Wszystko co na świecie i we wszechświecie, wewnątrz i na zewnątrz, daje się zakwalifikować do Yang albo do Yin.

Yang - to strona lub faza dodatnia, to niebo, słońce światło, dzień, lato, ogień, ciepło, rodzaj męski.
W pojęciach dynamicznych czynności lub zjawiska Yang - wyrażają siłę, wzrost, podniecenie, wigor, ruch, energię, szybkość, bystrość, element twórczy.

Yin - to strona lub faza ujemna, księżyc, ciemność, noc, zimno, ziemia, woda, rodzaj żeński.
Yin jest wyrazem bierności, powolności, spokoju, bezruchu, apatii, smutku, statyczności, materialności.

Również w organizmie człowieka poszczególne narządy i ich funkcje podporządkowane są fazie Yang i Yin.

Yang - to narządy puste, mające wewnątrz światło (narządy nazywane po chińsku Fu), tj. żołądek, jelito cienkie, jelito grube, pęcherzyk żółciowy, pęcherz moczowy.

Yin - to narządy pełne (po chińsku Zang), tj. serce, osierdzie, płuca, śledziona-trzustka, wątroba, nerki.

Również kanały energetyczne, tzw. meridiany, a które łączą punkty akupunktury leżące na ciele z odpowiadającymi im narządami wewnętrznymi, również są odpowiednio zaliczane do Yang i Yin

W chińskiej medycynie tradycyjnej zdrowie to stan równowagi między Yang i Yin, pełnej harmonii między nimi.

Ta właśnie równowaga między Yang i Yin stanowi o prawidłowej funkcji każdego narządu z osobna i organizmu juko całości.
Choroba jest stanem zachwiania równowagi, stanem dysharmonii, nieładu, nieporządku. Stan taki wprowadza przewagę raz jednej, raz drugiej z tych faz. Chińczycy określają to jako ”nadmiar" np. Yang lub ”niedobór" Yin albo odwrotnie.

Choroby charakteryzujące się nadmiernym pobudzeniem, przyspieszeniem funkcji życiowych organizmu (nadczynnością), to choroby typu Yang.
Do grupy tej należą choroby ostre (Shi). Natomiast choroby wykazujące tendencje odwrotne, tj. cechujące się osłabieniem i zwolnieniem funkcji życiowych, zmniejszoną aktywnością (niedoczynnością), to choroby typu Yin.
Do tej grupy chińska medycyna zalicza choroby przewlekłe (po chińsku - Xu).

Yang i Yin coraz częściej obecnie utożsamia się z układem nerwowym autonomicznym.
Cech podobieństwa jest wiele.
Yang - ma być układem sympatycznym, a Yin układem parasympatycznym.
Opierając się na zasadzie połączenia poszczególnych organów wewnętrznych poprzez meridiany i punkty ze skórą, nakłuwano skórę lub ją uciskano, masowano w miejscach aktywnych punktów, tj. punktów akupunktury, akupresury.
Poprzez nakłucie, ucisk lub masaż punktu dochodzi się do ułatwienia przejścia energii z kanału do kanału na skutek jego ”udrożnienia", odblokowania, co przywraca prawidłową cyrkulację energii Chi i prowadzi do równowagi energetycznej całego układu.

Prowadzi to do regulacji zakłóconych procesów czynnościowych zachodzących w organizmie, a odnosząc to do układu nerwowego autonomicznego, do przywrócenia równowagi między jego dwoma częściami składowymi, tj. do równowagi między układem sympatycznym i parasympatycznym.

Jak więc z powyższego widać pojęcia energii Chi, Yang i Yin są najistotniejszymi elementami potrzebnymi do zrozumienia medycyny tradycyjnej.

Leczenie Akupunktura - H. Operacz

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Ado, a ado, cada um no seu quadrado.

Que Porcaria é essa?

Eu digo, e sem medo de represálias: Isto representa a falta de cultura e investimentos em ensino, educação e pesquisa neste país. Não digo pelo gênero em si, mas as letras vulgares e sem conteúdo dão vontade de chorar.

Sei que gosto, cada um tem o seu. Eu mesmo gosto de coisas mais antigas. Hora ou outra, sou chamado de quadrado! Tiozinho! E olha que só tenho 20 anos de idade. Mas mesmo assim, tentarei argumentar.

Analise do ponto de vista musical:
Para ser música, necessita de três elementos básicos: Melodia, Ritmo e Harmonia. Tirando o ritmo, o que encontramos aí? Só né...

Ponto de vista do cúmulo do ridículo:
Parece que vivemos num país onde ninguém liga para o correto. Lembram se daquela ex bbb, a Sol, que num dia lá no programa, me solta um:

* Iar nu woul, iar te silve, iar nu woul tu sunbaraquê soles ta silve." Mas até aí tudo bem. Dose foi ver depois de uma semana isso em tudo quanto é cd e show amador pelo país.

Não acreditei, se não sabe cantar direito na língua original, não tenta! Canta algum som brasileiro, pois muitos são cheios de história, encantos e mensagem subliminares cheia de cultura pra desvendar.

Ponto de vista da difamação da mulher:
Isso também nem precisa falar muito né. Nossas gurias realmente gostam de ser chamadas de cachorras? Safadas? Será que elas querem ouvir que um tigrão vai as colocar no colo e fazer muita pressão, ou talvez, não se espante vou gozar na sua garganta.
Fora as noticias no tribuna, relatando mulheres, que ao som desde funks nojentos – digite funk nojento no youtube pra você ver a infinidade – participam de torneios de streap-tease, valendo uma merreca de grana, ao som do Pi-ri-rim e uma outra que é assim: Eu te quero até de manhã , Vem tirar meu sutiã!  De manhã, de tarde, à noitinha, Então tira minha sainha!

Ponto de vista cultural:
Talvez, este seja o ponto de vista mais gritante,e não me venha com aquela conversa de “ isso é musica pra zoação, pra chapar na balada e coisa tal”.

Outro dia ouvi um pessoal 100% balada, tirar um sarro de uma guria aqui, porque no mp3 dela tinha musicas do Caetano Veloso e do Chico Buarque. De fato, não escuto ambos com freqüência, mas achei chato o comentário desse pessoal, que de cada dez letras de musicas que eles sabem, 5 tem a expressão: chão, chão, chão, chão chão chão!

Vamos estabelecer uma comparação: Vai ser massa!

MC Catra: - Sei la quem é esse -.

"Tara tatara tara tara tatara tara tara tatara tara"
Ausência de percussão da nisso!
"Sabe esses dias que tu acorda de ressaca, muito louco doidão"
Sabe esses dias que você acorda podre de ter enchido a cara, e fica arrotando pinga o dia todo?
"Sua roupa ta cheia de lama e a cachorra ta na cama"
Sua roupa esta imunda e tem uma vagabunda na sua cama que você não conhece
"É o dia que a orgia tomou conta de mim, Assim..., Eu saio com o Léo, o Edgar o Dênis e o Sandrin, Oba, olha de ré"
É o dia que eu trepei pra caramba, assim. Eu saio com os amigos e... sei la o que significa, olha de ré.
"Na 4 por 4 a gente zoa, Whisky e energético, quando a mulher é boa, Ui, O bagulho tá sério, Vai rolar um adultério..."
No carro a gente zoa, dane-se a lei seca e os acidentes, o negócio é encher a cara no carro, com a mulherada da balada, porque vai rolar um picote comunitário.
"Tara tatara tara tara tatara tara tara tatara tara"
"Sua mina só reclama, tira a sua paz, ela é chata de mais, procura a profissional meu mano, que ela sabe o que faz."
Se sua namorada te enche o saco, sai com uma prostituta que ela te satisfaz, ué, profissional, só pode ser isso.

Já chega né rapaziada, vamos ver o próximo:

Caetano Veloso: - Ficou exilado na época da ditadura. Teve sorte de não ser morto pelos teus ideais e se caso a ditadura não tivesse tido fim, nunca teria retornado ao país -.

"Um dia a areia branca, seus pés irão tocar, e vai molhar seus cabelos, a água azul do mar"

Referência a saudade do mar do Brasil, cenário marcante deste país é com certeza o mar, visto que é um país de proporção continemtal.

"Janelas e portas vão se abrir, pra ver você chegar, e ao se sentir em casa, sorrindo vai chorar"

Dá a intender que se um dia poder voltar á pátria, vai chorar de emoção. Note as palavras janelas e portas abertas, fazendo referencia, ao fim da ditadura, para que todos possam adentrar ao país novamente.

"Debaixo dos caracóis dos seus cabelos, uma história pra contar, de um mundo tão distante
Debaixo dos caracóis dos teus cabelos, um soluço e a vontade, de ficar mais um instante"

Bom, este ultimo verso fica para vocês analisarem. Se quiser escrever alguma coisa, os comentários estão aí.

Por Rodrigo Dimitri

or, maybe just wait until december if santa brings a sackful of 32gb? 

so. 

what i did was to tidy up Harmonia, loading with as much interesting apps as technologically possible and sanitizing the files especially the music - the requisite metallica, beatles, and now madonna (but only the greatest hits) among other favorites.

the movies, i only have two.

16 gb is okay, but i'm still deciding if ever i could add *nosferatu* or *the cabinet of dr. calighari* or maybe both before her memory turns to fuck. which makes december very, very exciting indeed. insert evil, evil laugh here.

Ontem realizou-se a 1ª cafézada da turminha de Tai Chi do Complexo dos Desportos de Almada. Infelizmente, esqueci-me de levar a máquina fotográfica para fazer vários momentos KODAK ("para mais tarde recordar tene"). Mas o cérebro é a maior e a mais complexa máquina fotográfica que pudemos ter, portanto a noite de ontem ficará recordada na memória de cada um, espero eu!!

Fomos até ao Parágrafo, para quem não conhecia penso que foi hiper agradável, pelo menos o Nuno Almeida repetiu algumas vezes "Gosto disto!". Fiquei contente por terem gostado do espaço e da noite e fica a promessa de mais cafezadas.

Obrigada a todos por terem comparecido, tenho muito gosto em reunir o pessoal.

Beijocas grandes...

A.C.

A Review

Themes And Variations

The Tarzan Novels Of Edgar Rice Burroughs #16

Tarzan And The City Of Gold

by

R.E. Prindle

Tall, magnificently proportioned, muscled more like Apollo than Hercules,

Garbed only in a narrow G-string of lion skin

With a lion's tail depending before and behind,

He presented a splendid figure of  primitive manhood

That suggested more, perhaps, the demigod

Of the forest than it did man.

E.R. Burroughs

     This novel follows Tarzan And The Leopard Men in the sequence in which the novels were written.  Ballantine lists it as number sixteen while placing Leopard Men in eighteen in the sequence in which they were published.  In order to understand Burroughs' psychological development however Leopard Men should be read before City Of Gold.

     The amazing use of symbolism in Leopard Men is continued in City Of Gold.  I am convinced that at this

time Burroughs was investigating the Indian religion of Vedantism.  Swami Prabhavananda had established a temple in Hollywood at the beginning of the decade which quickly took hold.  The symbolism would be employed by the Vedantists while Burroughs' interest in symbolism itself was piqued.  Shortly after this novel ERB purchased a 1932 volume entitled The Scientific Dream Book And Dictionary Of Dream Symbols by one Johnathan B. Westerfield.  Thus ERB was investigating the psychological origin of his dreams.  The man was trying hard.

     It is clear that this sequence of novels is heavily influenced by Homer, especially by his Odyssey.  Homeric motifs run all through these five novels while as Doctor Hermes and David Adams have pointed out Burroughs uses the Athenian monetary unit, the drachma, as the currency of Cathne.

     A third probable source would be from the Legends Of Charlemagne volume of Bulfinch's Mythology.  In the last Bulfinch tells of a City Of Gold in which an enchantress keeps the paladins of Charlemagne captive.  That story seems to be based on Homer's story of Circe and Odysseus, or Ulysses in the Roman telling, so Burroughs combines both stories in his own enchantress, Nemone, of his City Of Gold.  One may take the City Of Gold to be the Sacred City of the Iliad.

     The rival kingdoms of Cathne and Athne- my spell check just pointed out to me that Athne respelled is Athen which is very close to Athene or Athens- have Greek sounding names reinforcing the Homeric connection.

     While the sexual symbolism of Leopard Men is dark and brooding placed in a swamp not unlike the Lernean Swamp of Greek mythology in which Heracles fought the furious female Hydra, The City Of Gold is much brighter and airier, more intellectual than the darker urges of the subconscious.

     Having now read many of the Tarzan novels four-five and even six times I am astonished at how well they maintain their freshness from reading to reading.  Rather than weary me, each reading is a fresh experience that opens a whole new vista of possibilities.  The more I seem to understand of what I'm reading the more signficance the words have as the story seems to rise from the page to form concrete living images, as it were.

     In this novel expecially I am impressed by the pacing, the effort put into preparing the scenes and the masterly execution in which each word assumes its independent value almost as though ERB had put as much care into word selection as, say, the poet Tennyson.  Of course we all know ERB read Tennyson as well as other verse and poetry while also being familiar with song lyrics.  Thus while writing prose he is able to maintain a poetic intensity.

     The opening scene is an excellent example of his skill.  Tarzan is out hunting when he is spotted by some shiftas.  He's in Ethiopia at the end of the rainy season.  We aren't told why he is there but he has commanded Nkima and Jad-Bal-Ja to stay home.  As a corollary, just before he leaves Emma two years later he will take a solo vacation to the mountains of Arizona.  The spatial arrangement conveyed in this scene is that of Tarzan between the shiftas and the prey he is hunting.  While he is silently stalking the prey the shiftas are more noisily stalking him.  The movement of the shiftas which can be seen by the prey but not by Tarzan who has his back to them is caught by the prey who looks past Tarzan to the shiftas.  Tarzan noticing the prey looking beyond him also looks back to spot the shiftas stalking him.

     The spatial concepts involved are astonishing while three views of time are also evident.  I only picked up on this aspect with my fifth reading.  My interest was thus piqued and heightened so that the novel took on an entirely new aspect.  The scene as written is so well paced and spaced that it made a vignette I'm sure I shall never forget, while I now long to duplicate such a scene in my own writing.

     The patient lulling slow pace of Tarzan's hunt was now broken.  As Tarzan's quarry fled, the action between Tarzan and the shiftas became fast, furious and frenzied, while the sexual symbolism bursts into one's consciousness.

     As the shiftas bear down upon him Tarzan realizes that he cannot escape by running.  If he could have he would have because as Burrughs never tires of noting there is no disgrace in running from a force majeure.  Instead Tarzan shot arrows among the the shiftas.  Than as a shifta bore down on him lance leveled:

There could be no retreat for Tarzan; there could be no sidestepping to avoid the thrust, for a step to either side would have carried him in front of one of the other horsemen.  He had but a slender hope for survival, and that hope forlorn though it appeared, he seized upon with the celerity, strength and agility that make Tarzan Tarzan.  Slipping his bow string about his neck after his final shot, he struck up the point of the menacing weapon of his antagonist, and grasping the man's arm swung himself to the horse's back behind the rider.

     Abilities like that make Tarzan Tarzan and I'm sure such a feat could be done in reality as in the imagination although possibly not if Tarzan had had the bunchy muscles of the professional strongman.  Smooth ones flowing beneath the skin like molten metal are undoubtedly a prerequisite.

     Dispatching the shifta Tarzan is now symbolically seated on a horse.  The horse directly plunges into a river to swim to the other side.  In mid-stream the horse and rider are attacked by a crocodile that Tarzan kills or disables.  Emerging from the river Tarzan gallops into a forest where he abandons the horse for the security of the trees.

     There in a short passage we have a wealth of symbolism that tells in a few paragraphs what ERB could have developed in many chapter if told in straight prose.

     The horse is a symbol of the female.  Thus Tarzan as Animus is symbolically united with his Anima.  the horse plunges into the river which is also a female symbol representing the waters of the unconscious.  Still mounted Tarzan is in the conscious sphere above water while the horse is submerged in the subconscious.  The crocodile also a female symbol representing the greedy, devouring, emasculating aspect of the female attacks.  The horse turns upstream in an attempt to flee the croc.  Tarzan strings his bow firing an arrow, as a masculine symbol, into the  crocodile's mouth disabling it thus escaping the disabling aspect of the feminine while with strange violence sending the arrow down the throat.  One has to think about these things.

     The horse scrambles up on the opposite bank signifying a change in life, then gallaps into the forst of the subconscious where one goes in search of oneself.  The forest here is the same as all those underground mazes in Burrough's corpus.

     Once in the forest Tarzan abandons the horse, or Anima for the security of the trees where he is above it all.  Apparently there is a deep cleavage between his Animus and Anima.  Now begins a very strange encounter.  Burroughs apparently felt he left something of himself on the other side of the river so he goes back for it.

     Coming upon the camp of the shiftas he notices that they have a bound captive.  As this appears to be what he returned for one can only speculate that the bound captive is an aspect of himself.  Perhaps the captive represents his marriage to Emma in which he is in the bonds of matrimony wishing to escape them.  Tarzan takes action.  At this point Burroughs offers this rather remarkable passage describing the Ape-Man.  p. 15:

It was difficult for Tarzan to think of himself as a man, and his psychology was more often that of the wild beast than the human, nor was he particularly proud of his species.  While he appreciated the intellectual superiority of man over other creatures, he harbored contempt for him because he had wasted the greater part of his inheritance.  To Tarzan, as to many other created things, contentment is the highest ultimate goal of achievement, health and culture the principal avenues along which man may approach this goal.  With scorn the ape-man viewed the overwhelming majority of mankind which was wanting in one essential or the other, when not wanting in both.  He saw the greed, the selfishness, the cowardice, and the cruelty of man; and, in view of man's vaunted mentality, he knew that these characteristics  placed man upon a lower spiritual scale than the beasts, while barring him eternally from the goal of contentment.

     In the above quote ERB outlines the central problem of mankind.  In the evolution of mankind from beast to homo sapiens the much vaunted mentality of HS has failed to make the transition from the pure mentality of the beast to that of, essentially, the god.  In orther words his origins are dragging him back as he tries to make the leap to the next stage of evolution and development.

     While having a godlike intelligence rather than using it to elevate himself above primal desires as the direction of the nineteenth century was going, in the early twentieth century Freud undercut the drive to perfection dragging mankind back down to primal desires.  This is Freud's great crime for which he should be burned in his effigy of Satan once a year in a great world wide holiday.  Thus as Man uses his intelligence to get at the root of things, and I think we're very close to understanding all, Man's primal desires lapsing back into the 'unconscious' of Freud, and make no mistake the current conception of the unconscious is of Freuds' personal devising, devise even more fiendish ways of evil as that knowledge increases.  Thus rather than aspiring toward a spiritual contentment Man chooses to give in to desires that lower him beneath the hyena.

     Thus Tarzan, who has attained spiritual contentment, and become godlike, looks with scorn and contempt on the humanity of his fellows preferring to think of himself as a 'spiritually pure' beast.

     While this attitude is a theme throughout the oeuvre and the corpus as a whole perhaps this rant was sharpened by the developing difficulties at MGM.  Shortly after this was written Tarzan, The Ape Man hit the screens scrambling ERB's vision of Tarzan forever.  The screen Tarzan has no intellect.  In the movie Tarzan's Desert Adventure Boy even has to read Jane's letter to him.

     On his way to the shifta camp the ever present Numa is between him and the desperadoes.  Taking to the trees of the forest to pass over Numa he spots a strangely garbed man in the shifta camp.  Still smarting because he lost his quarry and operating on the primitive logic that since the shiftas had deprived him of dinner it would only be right to deprive them of something they wanted, he decides to free the captive.

     He was about to fail in his attempt when the ever present Numa saves his skin by attacking the shifta camp.  In the confusion Tarzan and the prisoner escape.  The man turns out to be an Athnean named Valthor.  Having escaped they must put up for the night.  Sheeta the panther is abroad.  As David Adams is wont to point out, for Burrough Sheeta is a sexual symbol, so the next scene has strong homoerotic overtones.

     The question is who does Valthor represent.  He is curiously vague in personality.  As Burroughs was obsessed with the Jekyll and Hyde notion at this time I suspect that Valthor is an aspect of Burroughs' own personality with some sort of relation to Tarzan as Jekyll to Hyde.  Valthor's life is saved as Sheeta leaps for him so that one feels he may be related in some way to Stanley Obroski, another alter ego of Tarzan, who will actually die in the succeeding novel, Tarzan And The Lion Man.

     In this novel, in putting up for the night, Tarzan with his superior junglecraft, finds a tree where two horizontal branches fork.  He cuts some smaller limbs to form a pallet for himself for the night.  He had eaten but he is unconcerned whether the able bodied Valthor has eaten or not.  Tarzan does not hunt for other men.  If he hadn't already eaten he would have made a kill and shared the abundance.

     Valthor lies down on the ground.  Sheeta is watching silently.  So silently even Tarzan does not hear him breathe, until readying himself to springs, he quietly brushed a leaf or two.  Tarzan hears for his ears are not as yours or mine.  As Sheeta launches himself on Valthor Tarzan shouts a warning while rolling from the pallet to descend on Sheeta's back.

     Now, this scene replicates a similar scene in Beasts Of Tarzan when Tarzan leaps on Sheeta's back in midair as she was about to leap on the ape, Akut.  I hadn't thought of homoerotic overtones between Akut and Tarzan but they may be there.  It may be signficant that Akut later became the mentor of young Jack Clayton otherwise known as Korak The Killer.

     In the instance of Akut, the ape became sort of a vassal of Tarzan, while in this story Tarzan and Valthor become fast friends although the relationship is one of superior to inferior- Batman to Robin.  After killing Sheeta, Tarzan takes a more motherly attitude toward Valthor, making a bed for him in the tree because he knew Numa was prowling the forest.  That undoubtedly he knew that before was he leaving Valthor for Numa?

     They awoke in the morning.  p. 26:

Nearby, the other man sat up and looked about him.  His eyes met Tarzan's and he smiled and nodded.  For the first time the ape-man had an opportunity to examine his new acquaintance by daylight.  The man had removed his single garment for the night, covering himself with leaves and branches.  Now as he arose, his only garment was a G-string and Tarzan saw six feet of well muscled, well proportioned body topped by a head that seemed to bespeak breeding and intelligence.  The wild beast in Tarzan looked into the brown eyes of the stranger and was staisfied that here was one who might be trusted.

     Not exactly a description of love at first sight but a definite tinge of homoeroticism.  Brown eyes.  In fact Tarzan and Valthor become fast friends.  Quickly learning each other's language by the point and name system, or at least, Tarzan learning Valthor's language, they are soon chatting away amiably.

     Valthor comes from the mountains but after they wander around for a week he admits he is lost.  Tarzan gets the general direction then setting out in a bee line.  Their goal is the huge extinct volcano, Xarator, which they soon locate.  Just as Leopard Men was cast in the erotic swamps of the feminine as Old Timer lusted and panted after Kali Bwana so The City Of Gold  is located in a valley high in the mountains where heaven and earth meet and the cold incisive intellect works best.  Tarzan is not going to lust; like brave Ulysses he is going to resist the sexual blandishments of his Circe, Nemone.

     Both City Of Gold and Tarzan Triumphant take place near or in volcanos so the volcano must link the two stories.  The extent of emotion involved in this one is indicated by the atmospheric conditions as the two men enter the valley.  Compare this scene with that of Tarzan The Invincible when Tarzan and La leave Opar.  the symbolism is ferocious.

     The scene is set in the mountains of Ethiopa.  The rainy season is about to end but the last and most furious storm of the season bursts on the two.  It seems certain here that Valthor is another aspect of Burroughs' Animus in the Jekyll-Hyde sense.  In this case the two are not so widely divergent as Jekyll and Hyde but are closer in aspects .  Tarzan is still definitely superior and Valthor inferior.

     Athne and Cathne are twin cities in the valley but they have to pass through Cathne- The City Of Gold which is to say perfection- to get to Athne.  Athneans are Elephant men while Cathneans are Lion Men.  As the two begin to cross the valley the great storm breaks.  The storm no doubt symbolizes that storm feared by Burroughs of actually separating himself from Emma, certainly one of the most difficult thing he would ever have to do.

     The separation must have been terrific internal trauma so that ERB kept putting it off rather than face it.  One imagines that as in a situation like this Florence was continually asking him when he was going to tell Emma.  It would be another two years before he could force himself to make the break.  It is significant that just before he left he took a leave of absence from Emma returning to Arizona where, as here, he stayed in the mountains, the White Mountains of the Apaches.  Thus his time in the Army must have had more significance for him than we credit.  He must have thought, as miserable as he appeared to be, that those were the happiest days of his life.

     In Cathne the rains came down.  This was the mother of all storms.  Between the thunder, lightning and literal sheets of rain the two were severed from all reality.  They were walking ankle deep along the road.  Once again they have to cross a stream.  ERB has seen such a stream in Arizona, so this whole situation seems to be recalled by his Army days.  Actually the nine months he spent in Arizona was a fairly rainy period of fourteen inches.  In February 1897, I believe, four and half inches fell probably in one stormy period.  ERB records a stream that became a raging torrent in his last Western novel.  To some extent then he was writing from experience but already thinking of the good old days before he married.

     As hard as it was raining in Cathne the river should have been unfordable but art has its demands.

     Valthor knowing the ford begins to lead Tarzan across.  He gets too far ahead.  Tarzan in his uncertainty misses a step being swept away by the flood.  He is now in the possession of the waters of the feminine, that is, his female problems, just barely able to get his breath.  He is swept from side to side by the violent action of the waters, tumbled head over heels, but he keeps his mental presence.  There is a great waterfall ahead of him which threatens certain death.  The symbolism should be clear.  In a last ditch effort Tarzan catches a rock hauling himself from the water, if I am correct, on the same side of the river, in other words, Emma.  He doesn't cross which is symbolically important.  Refer that back to the earlier crossing in which he actually crosses but then returns.

     Gathering his senses about him he sees some lights, going to investgate.  He unwittingly stumbles into Nemone's garden.  Out of the frying pan, into the fire so to speak.

     Brave Ulysses has found his Circe.

B1

     The scent of the big cats fills this book.  Already Sheeta and Numa have had nearly equal billing with Tarzan and Valthor; now lions are given prominence.  Now Tarzan emerges from the flood, which symbolizes a major life change, into the land of lions and lion worship.  the ownership of lions is a mark of distinction in Cathne, Cahtnean chariots are even drawn by lions which brings to mind the chariots of goddesses like Cybele, Harmonia and Cadmus.  Nemone will promise to reward Tarzan with three hundred lions, apparently an incredible number making him the top Lion Man.  Remember the next novel Tarzan And The Lion Man will continue the theme.

     Continuing an old theme from Tarzan And The Golden Lion a lion is even the god of Cathne.  The symbol of Nemone's Animus is a great black maned male lion named Belthar.  The novel will devolve into a battle between Nemone's lion, Belthar, and Tarzan's lion, Jad-Bal-Ja.  Also continuing an old device employed in Tarzan And The Jewels Of Opar by the jewels and in Tarzan And The Ant Men by Tarzan's locket this story is unified by the image of a great lion drawing ever nearer to Tarzan.  So amid all these lions is the true Lion Man, Tarzan's personal lion.  His own guardian animal.

     It does seem clear that ERB associates the big cats with sexuality.

     ERB is building this story very carefully with great attention to spacing and pacing.  Captured by the

Cathneans ERB takes care to ingratiate the Big Bwana with the troops.  He has Tarzan and the Cathnean soldiers enter into a spirit of camaraderie as he introduces them to and instructs them in the use of the bow.  Nemone is instroduced but seems to take little notice of the Big Guy condemning him to fight in the arena.

     Taken to a prison cell he and we are introduced at some length and in some detail to a character named Phobeg.  Phobeg is billed as the strongest man in Cathne.

     ERB devotes an amazing amount of space to his confrontation between Phobeg and Tarzan.  His development of such a minor character is unusual.  I think what we have here is a confrontation between Tarzan and the actual man who inspired Burroughs to create Tarzan, the man who was the physical basis of the Lion Man.  Phobeg can be no other than the first important body builder in the world- The Great Sandow.  Just as in Tarzan The Magnificent Burroughs takes care to indicate that Tarzan has now replaced H.M. Stanley as the symbol of Africa, so here he puts down 'the strongest man in the world' in favor of his hero.

     Sandow (1867-1925) had died a few years earlier.  While other muscle men had replaced Sandow, most notably Charles Atlas, Burroughs was still obsessed by the man he had seen at the Columbian Expo of 1893.  It would seem certain that ERB occasionally picked up a copy of Physical Culture Magazine to keep up on the latest builds.  He couldn't have missed the memorial copy devoted to Sandow, the greatest and still the greatest of the body builders.  The award given to Mr. Olympia is called the Sandow.

     While bowled over by the strongman, and strongmen, ERB was always offended by the bunchy muscles created by body building.  he repeatedly makes allusions to strongmen throughout the corpus while Tarzan himself is both the antithesis and the perfection of the strongman.  That is why Tarzan has smooth muscles flowing like molten metal beneath his skin while in this case Phobeg as a Sandow surrogate has the knotted muscles of the body builder.

     If Burroughs found Sandow's build offensive he would have gone apoplectic at the most recent champions who seems to have developed musculature as far as it can go.  Unlike builders like Charles Atlas, Gordon Scott or Arnold Schwarzenegger who aspired to the Apolline figure, Ronnie Coleman and his successor Jay Cutler have opted for muscle upon muscle until there  is nothing but muscle with no attention to a human shape.  As an example check out Jay Cutler the current Mr. Olympia and holder of the Sandow at www.emusclemag.com.  This guy is only 5'9" but bulks up at 320 lbs., paring down to 275 for performance.  And that is literally all muscle.  One look at Cutler and ERB would have been foaming at the mouth

     Just as Sandow was billed as the strongest man in the world, so Phobeg is billed as the strongest man in

Cathne.  ERB makes him a braggart in relation to Tarzan but if he was the strongest man in Cathne he had little reason to respect Tarzan's physique which was more like 'Apollo than Hercules.'  Tarzan's strength though greater than Phobeg's was disguised.

     At they are to fight each other to the death in the arena this allows Burroughs to introduce another of his interests which may be related, that of professional wrestling.  Burroughs had Tarzan jokingly suggest that they stage the fight much as professional wrestlers.  Burroughs who still attended the matches was disgusted becasue the matches were pure entertainment, something he should have applauded.  Then as now the professional wrestling matches were staged.  Professional wrestling then as now has more to do with entertainment than sport.  Either you can get caught up in the fun and drama or you can't.  ERB obviously did although as he still thought of the shows as wrestling he felt put upon.

     After several pages of Phobeg's bragging and Tarzan's false humility the 'really big shoo' begins.  Tarzan and Phobeg are the last act on the program and they would have been a difficult act to follow.

     ERB must have loved this part as the lenghty description of the gambling taking place is many times more detailed that he usually is.  Whether the gambling aspect went on at the wrestling matches he attended or not, I don't know.  The odds naturally are for Phobeg, whose Cathnean reputation is immense and accurate as concerns the past.  Everyone expects the inveterate gambler Nemone to bet on the sure thing as was her custom.  They hedged their bets when they could at fantastic odds.  Nemone then surprised them by betting on Tarzan.  Nearly bankrupted the whole coterie of Lion Men.

     Tarzan wins of course but refusing to kill Phobeg he instead does his trademark thing lifting Phobeg above his head and tossing him into the stands at Nemone's feet.  Now that is one hard act to follow.

     Having now won his liberty, a lion man named Gemnon is assigned custodian of Tarzan taking him under his wing.  Up to this point there seems to be no reference to contemporary affairs except for Sandow and wrestling.  At this point ERB displays a numerous and surprising set of literary references.

Go To Tarzan And The City Of Gold part two.