Quartos contemplar a noite com atenção extasiada.

if i look back, i am lost
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Sweet Seals For You, Always
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Quartos contemplar a noite com atenção extasiada.
It make no difference in which tongue passers-by won't comprehend me.
li pai saw the rabbit in the moon too
SKIESOFAMERICAORNETTECOLEMAN!!
Komitas — Armenian priest, composer, choir leader, singer, music ethnologist, music pedagogue and musicologist
Cesar Aria: “To be practical about it,” he writes, “and drop the metaphysics…I’ve stood on the threshold of all the beauties, and all the dangers. And the sums did not add up. The remainders did not remain, the multiplications were not multiplied, the divisions were not divided.” A weathered man's reflection.
On 23 March 1921 a group of Milanese anarchists, believing on the basis of misinformation deliberately passed to them, that they could get at the Milan Police Chief, Gasti, planted a powerful bomb outside the city’s Diana Theatre. The explosion claimed 21 lives and left over 150 people injured but the intended target was unharmed. The bombers had long been exasperated by the unfair detention of the editors of the daily Umanitá Nova (Borghi, Malatesta and Quaglino) and wanted to draw attention to the state of health of the three prisoners. In fact, despite Malatesta’s advanced age, the trio had begun an all-out hunger strike by way of protest at the spurious grounds for postponement of their trial. Naturally, far from generating a campaign in solidarity with the ageing anarchist and his fellow prisoners, the bloody bombing resulted in further indictments and further scathing attacks upon the entire anarchist movement.
“The solipsistic anxiety of consciousness”—the anxiety that only I exist—the terrible situation in which my consciousness “[sees] itself in all its adventures as captivated by itself, ends here”: ends, that is, in my genuine encounter with another person. “The privilege of the Other in relation to the I—or moral consciousness—is the very opening to exteriority,” the opening up of a world outside of myself that I share with others (“Signature” 294).
Doctor. Ah! thou, too, Sad Alighieri, like a waning moon Setting in storm behind a grove of bays! Balder. Yes, the great Florentine, who wove his web And thrust it into hell, and drew it forth Immortal, having burn’d all that could burn, And leaving only what shall still be found Untouch’d, nor with the small of fire upon it, Under the final ashes of this world. Doctor. Shakespeare and Milton! Balder. Switzerland and home. I ne’er see Milton, but I see the Alps, As once, sole standing on a peak supreme, To the extremest verge summit and gulf I saw, height after depth, Alp beyond Alp, O’er which the rising and the sinking soul Sails into distance, heaving as a ship O’er a great sea that sets to strands unseen. And as the mounting and descending bark, Borne on exulting by the under deep, Gains of the wild wave something not the wave, Catches a joy of going, and a will Resistless, and upon the last lee foam Leaps into air beyond it, so the soul upon the Alpine ocean mountain-toss’d, Incessant carried up to heaven, and plunged To darkness, and still wet with drops of death Held into light eternal, and again Cast down, to be again uplift in vast And infinite succession, cannot stay The mad momentum, but in frenzied sight Of horizontal clouds and mists and skies And the untried Inane, springs on the surge Of things, and passing matter by a force Material, thro’ vacuity careers, Rising and falling. Doctor. And my Shakespeare! Call Milton your Alps, and which is he among The tops of Andes? Keep your Paradise, And Eves, and Adams, but give me the Earth That Shakespeare drew, and make it grave and gay With Shakespeare’s men and women; let me laugh Or weep with them, and you—a wager,—aye, A wager by my faith—either his muse Was the recording angel, or that hand Cherubic, which fills up the Book of Life, Caught what the last relaxing gripe let fall By a death-bed at Stratford, and hence-forth Holds Shakespeare’s pen. Now strain your sinews, poet, And top your Pelion,—Milton Switzerland, And English Shakespeare— Balder. This dear English land! This happy England, loud with brooks and birds, Shining with harvests, cool with dewy trees, And bloom’d from hill to dell; but whose best flowers Are daughters, and Ophelia still more fair Than any rose she weaves; whose noblest floods The pulsing torrent of a nation’s heart: Whose forests stronger than her native oaks Are living men; and whose unfathom’d lakes Forever calm the unforgotten dead In quiet graveyards willow’d seemly round, O’er which To-day bends sad, and sees his face. Whose rocks are rights, consolidate of old Thro’ unremember’d years, around whose base The ever-surging peoples roll and roar Perpetual, as around her cliffs the seas That only wash them whiter; and whose mountains, Souls that from this mere footing of the earth Lift their great virtues thro’ all clouds of Fate Up to the very heavens, and make them rise To keep the gods above us! Sydney Thompson Dobell
Ives: "The Unanswered Question"
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