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Marts 16., 2003
 | 02:17 - grāmatas :)
negausīgā honeybee savākusi uz sava kompja veselu bibliotēku :) a huju es to visu izlasīšu (nav tak iespējams lasīt grāmatas uz kompja, vienu rakstiņu pat ir grūti izlasīt) ... lai arī - vecumdienās būs ko izklaidēties :)
domāju - nez, uztaisīt sarakstu ar grāmatām, kuras stāv rindā, vai ne? moš kāds kauko varētu ieteikt...
// btw, ja kāds grib lasīt labu literatūru un viņam ir pieejams printeris....... :)
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| 03:46 - domas, kas man likās interesantas
POE ON THE SOUL OF MAN by ERIC W. CARLSON
In "Ms. Found in a Bottle" (1833), death is the price of the discovery; in "A Descent into the Maelstrom" (1841), the revelation transforms the black walls and the abyss into a wonderful "manifestation of God's power" and the moonlight into "a flood of golden glory." And yet, says the narrator, "the yell that went up to the Heavens from out of that mist I dare not attempt to describe," it was that awesome. At any rate, there was no reply or recognition from above, assuming God to be in his heaven. In this and the other cosmic fables, Man seems an alien, fatefully in but not of the Universe — a major theme in the Existentialist literature of our own time.
( ... tālāk ... )
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| 05:11 - kas ir mīlestība, D.H.Lorensa versija
Defining love as "the mysterious vital attraction which draws thing together," he saw the sex act as the "crisis of love," because in sexual union the two blood systems of male and female come into the closest possible contact, "the merest film," as he puts it, separating the two. A breaking of this film would prove destructive. Lawrence is thinking here in biological terms, but I believe the implication is more psychological. He's trying to emphasize that lovers ought not to try to become one another, not lose their separate identities, in short, that there's a limit to love.
Additionally, Lawrence points out, organisms only survive through contact with other organisms, which means communication and assimilation of nonmaterial vibrations. Man not only feels but also thinks and communicates with his fellow man through various forms of language — body language, sign language, words. As Lawrence says, "He takes into him the life of his fellow men, with whom he comes into contact, and he gives back life to them. This contact draws nearer and nearer, as the intimacy increases. When it is a whole contact, we call it love."
Here we have the bases of the two kinds of love there are: physical and mental. Lawrence calls the latter type "nervous love." They have traditionally been referred to as sensual and spiritual, or earthly and heavenly, or sacred and profane. At any rate, whether it be physical or mental, man ought not to try to live by love. If "men live by love," says Lawrence, "they die, or cause death, if they love too much." Thus conflict arises and the question: where should we draw the line in human relationships?
"Love and the Idea of Madness in Poe's Fiction" by Richard P. Benton
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| 05:53 - They entered the sea of darkness in order that they might explore what was therein.
I am come of a race noted for vigor of fancy and ardor of passion. Men have called me mad; but the question is not yet settled, whether madness is or is not the loftiest intelligence — whether much that is glorious — whether all that is profound — does not spring from disease o thought — from moods of mind exalted at the expense of the genera intellect. They who dream by day are cognizant of many things which escape those who dream only by night. In their gray visions they obtain glimpses of eternity, and thrill, in waking, to find that they have been upon the verge of the great secret. In snatches, they learn something of the wisdom which is of good, and more of the mere knowledge which is of evil. They penetrate, however, rudderless or compassless into the vast ocean of the 'light ineffable,' and again, like the adventures of the Nubian geographer [Ali-Idrisi], 'agressi sunt mare tenebrarum, quid in eo esset exploraturi' [They entered the sea of darkness in order that they might explore what was therein].
E.A.Poe. Eleonora.
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| 07:26
In his "Philosophy of Composition" Poe asks: "When is this most melancholy of topics most poetical? When it most closely [page 5:] allies itself to Beauty. The death, then, of a beautiful woman is unquestionably the most poetical topic in the world; and equally it is beyond doubt that the lips best suited to such a topic are those of a bereaved lover."
THE SUPERNATURAL IN EDGAR ALLAN POE by Richard H. Hart
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| 15:15 - niknums.
un beidziet vienreiz čīkstēt, rokas graizīt, drāzties ar ko pagadās un pēc tam sūdzēties, ka esat nodrāzušās ar nepareizo, jūs, mazās, stulbās meitenītes. 80% jūsu depresijas rodas no tā, ka jums slinkums izdomāt, ko darīt ar savu dzīvi un slinkums piešķirt tai kādu vērtību - un tad nu jūs gaidāt, kad kāds jums pateiks priekšā, kāda velna pēc jums vispār jādzīvo. lai pēc tam varētu pīkstēt, ka kāds jums māca, kā dzīvot. reizēm man liekas, ka jūs rīkojaties bezcerīgi stulbi tikai tāpēc, lai varētu papīkstēt, kādas bezcerīgas stulbenes esat un kāds jums stāstītu, ka jūs nemaz tādas neesat. un raudot jums obligāti jāskatās spogulī. "cik es nelaimīga, ak, un cik neglīta. ak, un mani neviens nemīl." un, lai varētu būt drošas, ka "jūs neviens nemīl", obligāti vajag trīsreiz dienā pasūtīt dirst visus, kas ir tik stulbi, ka rūpējas par jums.
jūsu dēļ normāls sevi cienošs cilvēks nevar atļauties ne ieslīgt depresijā, ne paraudāt, ne vēnas pārgriezt. jo visas šīs nopietnās un būtiskās lietas jūs esat pārvērtušas par parodiju.
p.s. tas pats attiecas arī uz sīkajiem un ne tik sīkajiem puisīšiem. ar to atšķirību, ka sievietēm šitais te pāriet kaut kur ap 21 gada vecumu, bet jums tas nepāriet fakin NEKAD.
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