sábado, 30 de junho de 2007

Selv


* photo by George Doyle*

The Wind Trapped Like A Tired Man
*Poem lyrics by Emily Dickinson*


The wind tapped like a tired man,
And like a host, "Come in,"
I boldly answered; entered then
My residence within

A rapid, footless guest,
To offer whom a chair
Were as impossible as hand
A sofa to the air.

No bone had he to bind him,
His speech was like the push
Of numerous humming-birds at once
From a superior bush.

His countenance a billow,
His fingers, if he pass,
Let go a music, as of tunes
Blown tremulous in glass.

He visited, still flitting;
Then, like a timid man,
Again he tapped--'t was flurriedly--
And I became alone

quarta-feira, 20 de junho de 2007

Nam-myoho-rengue-kyo


*photo by PhotosIndia*


*Budismo Nitiren*

Segundo os ensinamentos de Nitiren Daishonin, através da recitação deste mantra ( nam myoho rengue kyo ) nossa vida entra em rítmo com o universo e através dessa harmonia podemos estabelecer uma forte identidade que não será abalada por nenhuma dificuldade.
Existe a felicidade relativa, que é aquela obtida através da satisfação de um desejo ou eliminação de um sofrimento e a felicidade absoluta, aquela que surge da própria vida da pessoa, não causada pelas situações exteriores. O objetivo da recitação do daimoku é construir uma vida que não seja derrotada pelos obstáculos, e que os mesmo sejam uma oportunidade para o crescimento, ou seja, felicidade absoluta



Mantra *Da repeter mais vezes*

NAM: sou devoto
MYOJO: a lei Mística
RENGUE: del Sutra del Loto
KYO: mediante minha voz.

sexta-feira, 15 de junho de 2007

quinta-feira, 14 de junho de 2007

THE EMBRACE



(Photo by hakanphotography)


"This part of the Kama Shastra, which treats of sexual union, is also called 'Sixty-four' (Chatushshashti). Some old authors say that it is called so, because it contains sixty-four chapters. Others are of opinion that the author of this part being a person named Panchala, and the person who recited the part of the Rig Veda called Dashatapa, which contains sixty-four verses, being also called Panchala, the name 'sixty-four' has been given to the part of the work in honour of the Rig Vedas. The followers of Babhravya say on the other hand that this part contains eight subjects, viz. the embrace, kissing, scratching with the nails or fingers, biting, lying down, making various sounds, playing the part of a man, and the Auparishtaka, or mouth congress. Each of these subjects being of eight kinds, and eight multiplied by eight being sixty-four, this part is therefore named 'sixty-four'. But Vatsyayana affirms that as this part contains also the following subjects, viz. striking, crying, the acts of a man during congress, the various kinds of congress, and other subjects, the name 'sixty-four' is given to it only accidentally. As, for instance, we say this tree is 'Saptaparna', or seven-leaved, this offering of rice is 'Panchavarna', or five-coloured, but the tree has not seven leaves, neither has the rice five colours.

However the part sixty-four is now treated of, and the embrace, being the first subject, will now be considered.

Now the embrace which indicates the mutual love of a man and woman who have come together is of four kinds:

Touching
Rubbing
Piercing
Pressing

The action in each case is denoted by the meaning of the word which stands for it.

When a man under some pretext or other goes in front or alongside of a woman and touches her body with his own, it is called the 'touching embrace'.

When a woman in a lonely place bends down, as if to pick up something, and pierces, as it were, a man sitting or standing, with her breasts, and the man in return takes hold of them, it is called a 'piercing embrace'.

The above two kinds of embrace take place only between persons who do not, as yet, speak freely with each other.

When two lovers are walking slowly together, either in the dark, or in a place of public resort, or in a lonely place, and rub their bodies against each other, it is called a 'rubbing embrace'.

When on the above occasion one of them presses the other's body forcibly against a wall or pillar, it is called a 'pressing embrace'.

These two last embraces are peculiar to those who know the intentions of each other.

At the time of the meeting the four following kinds of embrace are used:

Jataveshtitaka, or the twining of a creeper.

Vrikshadhirudhaka, or climbing a tree.

Tila-Tandulaka, or the mixture of sesamum seed with rice.

Kshiraniraka, or milk and water embrace.

When a woman, clinging to a man as a creeper twines round a tree, bends his head down to hers with the desire of kissing him and slightly makes the sound of sut sut, embraces him, and looks lovingly towards him, it is called an embrace like the 'twining of a creeper'.

When a woman, having placed one of her feet on the foot of her lover, and the other on one of his thighs, passes one of her arms round his back, and the other on his shoulders, makes slightly the sounds of singing and cooing, and wishes, as it were, to climb up him in order to have a kiss, it is called an embrace like the 'climbing of a tree'.

These two kinds of embrace take place when the lover is standing.

When lovers lie on a bed, and embrace each other so closely that the arms and thighs of the one are encircled by the arms and thighs of the other, and are, as it were, rubbing up against them, this is called an embrace like 'the mixture of sesamum seed with rice'.

When a man and a woman are very much in love with each other, and, not thinking of any pain or hurt, embrace each other as if they were entering into each other's bodies either while the woman is sitting on the lap of the man, or in front of him, or on a bed, then it is called an embrace like a 'mixture of milk and water'.

These two kinds of embrace take place at the time of sexual union.

Babhravya has thus related to us the above eight kinds of embraces.

Suvarnanabha moreover gives us four ways of embracing simple members of the body, which are:

The embrace of the thighs.

The embrace of the jaghana, i.e. the part of the body from the navel downwards to the thighs.

The embrace of the breasts.

The embrace of the forehead.

When one of two lovers presses forcibly one or both of the thighs of the other between his or her own, it is called the 'embrace of thighs'.

When a man presses the jaghana or middle part of the woman's body against his own, and mounts upon her to practise, either scratching with the nail or finger, or biting, or striking, or kissing, the hair of the woman being loose and flowing, it is called the 'embrace of the jaghana'.

When a man places his breast between the breasts of a of Vatsyayana woman and presses her with it, it is called the 'embrace of the breasts'.

When either of the lovers touches the mouth, the eyes and the forehead of the other with his or her own, it is called the 'embrace of the forehead'.

Some say that even shampooing is a kind of embrace, because there is a touching of bodies in it. But Vatsyayana thinks that shampooing is performed at a different time, and for a different purpose, and it is also of a different character, it cannot be said to be included in the embrace.

There are also some verses on the subject as follows:

'The whole subject of embracing is of such a nature that men who ask questions about it, or who hear about it, or who talk about it, acquire thereby a desire for enjoyment. Even those embraces that are not mentioned in the Kama Shastra should be practised at the time of sexual enjoyment, if they are in any way conducive to the increase of love or passion. The rules of the Shastra apply so long as the passion of man is middling, but when the wheel of love is once set in motion, there is then no Shastra and no order.'


Kamasutra
Sir Richard Burton 1883

terça-feira, 12 de junho de 2007

ON KISSING



(Photo by Joshua Thompson )



IT is said by some that there is no fixed time or order between the embrace, the kiss, and the pressing or scratching with the nails or fingers, but that all these things should be done generally before sexual union takes place, while striking and making the various sounds generally takes place at the time of the union. Vatsyayana, however, thinks that anything may take place at any time, for love does not care for time or order.

On the occasion of the first congress, kissing and the other things mentioned above should be done moderately, they should not be continued for a long time, and should be done alternately. On subsequent occasions, however, the reverse of all this may take place, and moderation will not be necessary, they may continue for a long time, and, for the purpose of kindling love, they may be all done at the same time.

The following are the places for kissing: the forehead, the eyes, the cheeks, the throat, the bosom, the breasts, the lips, and the interior of the mouth. Moreover the people of the Lat country kiss also on the following places: the joints of the thighs, the arms and the navel. But Vatsyayana thinks that though kissing is practised by these people in the above places on account of the intensity of their love, and the customs of their country, it is not fit to be practised by all.

Now in a case of a young girl there are three sorts of kisses:

The nominal kiss
The throbbing kiss
The touching kiss

When a girl only touches the mouth of her lover with her own, but does not herself do anything, it is called the 'nominal kiss'.

When a girl, setting aside her bashfulness a little, wishes to touch the lip that is pressed into her mouth, and with that object moves her lower lip, but not the upper one, it is called the 'throbbing kiss'.

When a girl touches her lover's lip with her tongue, and having shut her eyes, places her hands on those of her lover, it is called the 'touching kiss'.

Other authors describe four other kinds of kisses:

The straight kiss
The bent kiss
The turned kiss
The pressed kiss

When the lips of two lovers are brought into direct contact with each other, it is called a 'straight kiss'.

When the heads of two lovers are bent towards each other, and when so bent, kissing takes place, it is called a 'bent kiss'.

When one of them turns up the face of the other by holding the head and chin, and then kissing, it is called a 'turned kiss'.

Lastly when the lower lip is pressed with much force, it is called a 'pressed kiss'.

There is also a fifth kind of kiss called the 'greatly pressed kiss', which is effected by taking hold of the lower lip between two fingers, and then, after touching it with the tongue, pressing it with great force with the lip.

As regards kissing, a wager may be laid as to which will get hold of the lips of the other first. If the woman loses, she should pretend to cry, should keep her lover off by shaking her hands, and turn away from him and dispute with him saying, 'let another wager be laid'. If she loses this a second time, she should appear doubly distressed, and when her lover is off his guard or asleep, she should get hold of his lower lip, and hold it in her teeth, so that it should not slip away, and then she should laugh, make a loud noise, deride him, dance about, and say whatever she likes in a joking way, moving her eyebrows and rolling her eyes. Such are the wagers and quarrels as far as kissing is concerned, but the same may be applied with regard to the pressing or scratching with the nails and fingers, biting and striking. All these however are only peculiar to men and women of intense passion.

When a man kisses the upper lip of a woman, while she in return kisses his lower lip, it is called the 'kiss of the upper lip'.

When one of them takes both the lips of the other between his or her own, it is called 'a clasping kiss'. A woman, however, only takes this kind of kiss from a man who has no moustache. And on the occasion of this kiss, if one of them touches the teeth, the tongue, and the palate of the other, with his or her tongue, it is called the 'fighting of the tongue'. In the same way, the pressing of the teeth of the one against the mouth of the other is to be practised.

Kissing is of four kinds: moderate, contracted, pressed, and soft, according to the different parts of the body which are kissed, for different kinds of kisses are appropriate for different parts of the body.

When a woman looks at the face of her lover while he is asleep and kisses it to show her intention or desire, it is called a 'kiss that kindles love'.

When a woman kisses her lover while he is engaged in business, or while he is quarrelling with her, or while he is looking at something else, so that his mind may be turned away, it is called a 'kiss that turns away'.

When a lover coming home late at night kisses his beloved, who is asleep on her bed, in order to show her his desire, it is called a 'kiss that awakens'. On such an occasion the woman may pretend to be asleep at the time of her lover's arrival, so that she may know his intention and obtain respect from him.

When a person kisses the reflection of the person he loves in a mirror, in water, or on a wall, it is called a 'kiss showing the intention'.

When a person kisses a child sitting on his lap, or a picture, or an image, or figure, in the presence of the person beloved by him, it is called a 'transferred kiss'.

When at night at a theatre, or in an assembly of caste men, a man coming up to a woman kisses a finger of her hand if she be standing, or a toe of her foot if she be sitting, or when a woman is shampooing her lover's body, places her face on his thigh (as if she was sleepy) so as to inflame his passion, and kisses his thigh or great toe, it is called a 'demonstrative kiss'.

There is also a verse on this subject as follows:

'Whatever things may be done by one of the lovers to the other, the same should be returned by the other, i.e. if the woman kisses him he should kiss her in return, if she strikes him he should also strike her in return.'



Kamasutra

segunda-feira, 4 de junho de 2007

You do Something to me

(steve pyke photo ,1984,oxford)

*The Style Council # Le Depart# *



Oxford 1987 ,the best time of my life,than will not come back ever.



" I'm hanging on the wire for a love I'll never find
You do something wonderful then chase it all away
Mixing my emotions that throws me back again"



# http://www.paulweller.com #

I love it ....


(steve pyke photo ,1984,oxford)