What are the stakes here? Within the temporal economy of the poem, Belo attempts to buy time. Fenn ascribes to it, that is, as a possibility to experience, in a reasonably harmless way, as is the case of poetry, certain emotions related to a situation that threatens to annihilate the subject.
As we know, in Belo's work the man who dies is the man who chooses to die. The poet's venturing into death reaps symbolic gains. The anxiety of time is retrospective; it comes from a future death, and thus is experienced by a subject who has already lived in a bought time. One can hardly think of a better function for poetry as a transport in time. This brief poem and the others in Belo's collected poems, Todos os Poemas, that belong to the same family recall an episode in Francis Ford Coppola's film Rumble Fish, in which the central character, in a compensatory move, dreams of his own death and of the death of those surrounding him.
Belo's poetry requires a rhetoric of temporality for strategic reasons. The tension at the origin of this need results, as we have seen, from the main contradiction that permeates Todos os Poemas; we shall call it religious for short. Instead of the Nietzschean death of God, in this poetry we see God metamorphosing into a god in language. Belo needs time to accommodate his thorny distinctions: the poet of , the poet of , and so forth.
The third aspect of time in Belo's poetry that I will touch upon is mostly implicit in his writing, but it may be discerned in the concluding lines of a number of his poems. Other characters in the poem also join this family of figures that want one thing now and then another, or who are supposed to talk about something and then talk about something else. This is what happens with the writer Vitorino Nemesio appearing on TV , who instead of speaking of Christ speaks of the Neolithic precisely a time when there was no Christianism yet.
With this distinction marked between himself, on the one hand, and, on the other, the younger Joao Miguel a distinguished poet since the s and Belo's wife Maria Teresa, Ruy Belo stages his own identity as that of the resigned protagonist of the end. Consummatum est. I liis reincarnation in pjiglish has benefited vastly from the input of Anna M.
Klohucka and Maria Antonia Amarante. Very summarily, the first phase was concerned with English poetry, the second with the theory of infitience, and in the third stage of his work Bloom assumed the role of a popular critic. A Map of Misreading. The first and the second Bloom are certainly among the small number of the most decisive literary critics and theorists of the twentieth century.
See Frank Lentricchia and Andrew Dubois, eds. Close Reading. Durham and London: Duke UP, In Belo's poetry, time in not treated as spacelike, but as that which makes it possible for space to exist and encompasses it. Fish confronts us with the concept of modern or modernist analysis that reduces time to space, thus allowing for a unified vision of time. In Ruy Belo, no such unified vision blocks discontinuous temporality, but thematic criticism of his work — invested as it is in the content of time as a theme — is methodologically unable to move beyond making note of the essence of time through its examples, remaining blind to what I am calling the grammar of time in Belo's text.
One of the most consequential formulations of the expansion of the present, coupled with a critique of transcendental assumptions, may be found in the work of Flans Ulrich Gumbrecht. Oxford: Oxford UP, Chicago: I'he University of Chicago Press, It would be a highly promising vein of analysis to read Joao Miguel Fernandes Jorge's poetry as a response to Ruy Belo's. For example, Fernandes Jorge's writing evidences a recovery ot certain notions that had been rejected by Belo.
Victor K. E-mail: vmendes Limassd. In this essay I primarily intend to provide the American public with an introduction to the poetry ol Herberto Helder. The poet is a faker He fakes so completely That he fakes the pain He is actually feeling. It is one, or, rather, it is the only cult that we have been officiating for centuries, with passion and more or less guaranteed success [ All our modernity has lived until today off of this inven- tion ot Poetry as Myth.
In reality, more books of poetry are annually written, published and pur- chased in Portugal than in most European countries. Similar to Spaniards and Latin Americans, the Portuguese reward their favorite writers — particu- larly their poets — with considerable acclaim and public reverence. Poetry readings are popular social events. A popular representation of our most celebrated poet, Luis de Camoes, shows him as a fierce street brawler and a passionate seducer of courtly ladies.
Highly romanticized, heroic legends such as these are part of our national folklore. In Portugal, despite relatively high illiteracy rates and even higher func- tional illiteracy rates literature in general has a widespread, popular, democra- tic prestige — if an elitist readership — and poetry holds an even stronger appeal. Yet these books — in what, sociologically, constitutes a very intriguing behavior — often remain unread, yet proudly on display in many a living room bookcase. They are revered by a large segment of the public while often exhibiting a certain disdainkil aloofness towards the applause of this same public.
Frequently — either out of vanity or out of humbleness — they resent the insistent inquiries of literary supplements, the obligation to par- ticipate in book promotions and, particularly, what they interpret as the intrusiveness of literary journalists and of the public in general. Who is Fderberto Fielder? Fierberto Fielder is widely considered one of the most important poets since Fernando Pessoa, if not the most important.
Fie was born in in the Madeira Islands, Portugal. In he published his first book of poetry, O Amor em Visita. In the rest of the world, with the exceptions of Brazil, Spain and Prance, Herberto Helder is either a completely ignored author or is relegated to the status of an exotic and harmless CLiriosity. In Portugal, Helder is still vastly unknown to the majority of our population, although his name recognition has been steadily growing among the most active members of the reading public.
In this essay 1 primarily intend to provide the American public with an introduction to the poetry of Herberto Helder. The reception It is thus a [critical] move drenched in humility, although it is often performed with righteousness: those other fellows may be interested in displaying their inge- nuity, but 1 am simply a servant of the text and wish only to make it more avail- able to its readers who happen also to be my readers.
For the past fifteen years or so, a number of critics have expressed positions that are, at best, contradictory. On the other hand, scholarly stud- ies on Helder are perceived as scarce, timid, or insufficiently productive. Many critics have already referred to this contradiction. The result of this confessed humiliation is a type of aphasia. Juliet Perkins adapted her doctoral dissertation and published it under the title The Feminine in the Poetry of Herberto Helder. More recently, Silvina Rodrigues Lopes, who had previously writ- ten articles about Helder, published a book exclusively devoted to the poetry of this author: A Inocencia do Devir.
Many of the texts that proclaim themselves analyses of Helder s poetry often turn out to be little more than tearful homages to the author. In other words, critics have contributed to rigidifying the myths, to thickening the mystifications and to cultivating the prejudices instead of dis- pelling them. Few critics have attempted to do what, in my opinion, needs to be attempted: a kind of reading that would contribute to the dismantling of the esoteric reputation that surrounds his works so that freer, less fearful, less apolo- getic — and ultimately, more consequential — studies may come forth.
Poetry such as this speaks a demoniacal idiom — it is some kind of absolute force. To that which is close we cannot get closer without risk and, yet, without our approaching it the poem would not exist for us. Maybe our approximation should be a ritual in which the offerings are words drunk with meanings and danger. Maybe we should be silent and choose instead words whose rumor becomes the brief breath of the wind. Later, as we find out that it is true, we still do not know what to say or what to do [with the poems] — for the fear of jumping into the unknown is great [ We may call him difficult, hermetic, obscure, but that obscurity is the obscu- rity of someone who protects his mysteries to better illuminate them from the inside.
As for us, before such an intense and different light, maybe we are simply blind. This is so because at the heart of the institution is the wish to deny that its activities have any consequences. This idea is in agreement with the generally accepted principles of Modernism and still appears to be among the most popular characteristics of the movement as it has been interpreted by many critics. This belief may have, in part, legitimated some positions of passive resigna- tion toward what is perceived as the inscrutability of the literary text. Yet, just as she did in , she still defends the incomprehensibility of texts: [T]he poem shuts itself to the devastating curiosity, to the way it is cryptic, and its key does not open, rather, it closes — [the poem] closes itself [to scrutiny, to curiosity] as a tomb, sealed, absolutely non-desecratable, a memory stone, an epi- taph.
One cannot read into things while simultaneously lecturing the reader about the unreadability of things. This particular reading by Lopes exemplifies one of the most disappointing aspects of some contemporary styles of criticism. And even if one of them suddenly pressed me against his heart, I should fade in the strength of his stronger existence.
The original poem by Helder reads: I play, I swear. It was a childhoodhouse. I know how it was an insane house. I would stick my hands in the water: I would fall asleep, I would re-remember. Mirrors would crack against our youth. When asked about the autobiographical overtones in his book of short stories. Many years ago, Helder offered a journalist the following rhetorical advice: Falk to a child.
Is it unintelligi- ble myself being green and the child being orange? It is. But I comprehend it. Those who do not please go away. The suspicion that the dead — a theme that in Helder has comforting, positive, connotations — interfere and collaborate in the lives of the living is more than just curiously common in Poesia Toda — it is a defining recurrence in this poetic universe: I try Both worlds share a strong magical dimension.
I have heard that they breathe, they run across the dew, and then they lay down. They are sweet equivalencies, lights, pure ideas. Scenes of con- frontation between the poetic subject and God are far from being occasional. This cosmic rivalry is, nevertheless, not a balanced one. Basic children turn me into a raging rose and they throw it against the mouth of God. The power of the poet derives, in part, from the power of his creatures and of his creations. Poetry is, therefore, the fittest weapon to be used against the greatest possible enemy — the one that cannot be defeated: It is necessary that God free himself from my fabulous gifts [as a poet].
WPoesia Toda These three Helderian themes — three among many more that are possible in Poesia Toda — have one thing is common. They possess an undeniable dimension of sublimity — which, historically, has been in close association with supernatural representations Voller Burke, qtd. On poetry A particular mythicization of poetry is at work in Poesia Toda. A myth that is, nowadays, strangely cultivated by critics themselves, as noted earlier by Fish.
Helder de- legitimates the critical act, which is, to him, incorrigibly illicit or, at least, inherently suspect. Critical commentary is always an act of violence commit- ted upon the literary work: The poem is centered in itself, monstrously solitary? It is not in a hurry, it can wait to be taken out of its isolation, it possesses enough expansive forces, take it out of there.
Yet, either you take it whole, with its center in its center, and harnessed all around as a living body or you do not take a thing from it, not even a fragment. And what one often does do is smuggle pieces of it: we remove the wrong part of it, we transfer it to the wrong part of ourselves, towards some wrong place: Philosophy, Morals, Politics, Psychoanalysis, Linguistics, Symbology, Literature. Where is its body and where is its life and its integrity? Where is the solitude of its voice? Because it is mandatory to say this: few people [few readers, few critics] possess pure ears.
Or clean hands. To read a poem is to be capable of making it, of re-making it. In the following passage he is showing an obvious nostalgia for Romantic, pre-mod- ern times. As he denounces the enemies of the poet — which are also, naturally, his own enemies — the excerpt provides us with a Poetics. That which is not searched but found is over, that which is magically and ardu- ously and profoundly found, that is over. This is not the time to praise poets that declare: we are not modern. What a bunch! Expel them from the Republic. Success, in particular, can be dangerous. One should he available to disappoint those who trusted us.
Disappointing them is guaranteeing the move- ment. The confidence that others have in us is entirely theirs. What concerns us is another kind of confidence. I he fact that we are irreplaceable in our adventure and that no one will pursue it for us. Writing about another Portuguese poet, Edmundo de Bettencourt, Helder praises the fact that, at some point in his life, Bettencourt stopped writing when he felt that Portuguese society — then under the New State dictatorship — no longer offered him conditions to pre- serve his integrity as a poet.
Helder praises the fact that Bettencourt was being faithful to his own mission. Very few comparative observations on the two authors were ever published. A text by the late poet and critic Luis Miguel Nava is among the few that compare the two authors. Nava once said that, similarly to what Pessoa had represented in the time of Orpheiu both Ruy Belo and Fierberto Fielder constituted important land- marks beyond which the landscape radically changed.
In different ways, both Ruy Belo and Fierberto Fielder represented the convergence and the matura- tion of a host of different tendencies that originated in previous generations Nava Both Helder and Pessoa lived during periods that were later considered crossroads in Portuguese letters. Both authors — in various ways, and to vary- ing degrees — have inHuenced all of the generations that followed their own.
He even invented a poet who, wrote as one of our most unlikely bards — the unsophisticated, barely literate, Alberto Caeiro, the shepherd. His poetry pursues and celebrates the de-humanization of the poet, the isolation of the poetic subject, his incommunicability. Pessoa wished to implement, in a sense, liter- ary democracy. Helder is exactly at the opposite end of the spectrum. What appears as SLibjective emptiness in Pessoa is equivalent to excessive, celebratory, defiant identity in Helder. A super-assertive, highly self-centered personality contrasts with a fragmented, multiplied or emptied subjectivity.
As is well known, Pessoa once prophesized the advent of a poet who would surpass Camoes in cultural and national importance. This poet would appear one hazy morning in the Portuguese Republic of Letters and rescue its literattire from the threat of insignificance. One may argue that Helder is here building his own Super-Pessoa prophecy. One needs to be between two moral worlds in order to transgress the rules of one of them; in order to be accused of the sin of insincerity.
Might sincere souls be lake me, without knowing it? Before the lie of emotion And the fiction of the soul, I cherish the calm it gives me To see flowers without reason Flowers without a heart. Fielders poet displays the haughty humanity of a demigod in the same way that angels and demons share human traits with humans without being human. Fiis domain — the magical — is that of the non-human and that of the non-real. There are no tobacco shops in these otherworldly landscapes and, if there were, their owners would certainly — frighteningly — not be smiling by the door.
The anthology was immediately heralded as a representative sample of the main poems and poets of the twentieth century in Portugal. The book — due to the ambitious nature of the project — had an unusually important impact beyond the community of critics and academics. A protest over the exclusion of one poet — Manuel Alegre — was made by one parliamentary group; the entire event drew considerable national media coverage and lively debate in differ- ent national venues. In each new edition, major revisions and changes were introduced by the author — to the point of causing dilemmas in the critical community as to which edition should be used when ana- lyzing a particular poem.
Nevertheless, ignoring the perceived suggestions of the author, most critics myself included have continued to utilize the previous editions of the book as the scholarship on the author slowly evolves and proliferates. Herberto Helder is, in my opinion, a borderline case. Doctoral dissertations: Dal Farra, Maria Lucia. Helder is known For refusing to grant interviews to any Portuguese publications since the s. He has rejected important literary awards and monetary prizes. In his own writings and on the tew occasions when he has publicly commented on the reception of his works — he has displayed an attitude of general hostility toward the work of the critics, the publishing establishment, and the marketing of literature.
On many occa- sions Helder presents his own translated excerpts of Biblical texts. Quoted from the edition vol. The last verses read as follows: The man has come out of the Tobacco Shop putting change in his pocket? The Tobacco Shop Owner has come to the door. As if by divine instinct, Esteves turns around and sees me. Lisbon: PreseiKja, Burke, Edmund. Coelho, Eduardo Prado.
A Node do Mundo. Lisbon: Imprensa Nacional, Dal Farra, Maria Lucia. Lisbon: Imprensa Nacional — Casa da Moeda, Coimbra: Almedina, Ferguson, Frances. Solitude and the Sublime: Romanticism and the Aesthetics of Individuation. New York: Routledge, Fish, Stanley. Is There a Text in this Class? The Authority of Interpretive Communities. Cambridge: Hars'ard UP, Freitas, Manuel de. Guerreiro, Antonio. Guimaraes, Fernando. Helder, Herberto. O Amor em Visita. Lisbon: Contraponto, Apresentacdo do Rosto.
Lisbon: Ulisseia, Jornal de Letras e Artes [Lisbon] 27 May : A Colher na Boca. Lisbon: Atica, By Antonio Jose Porte. Os Passos em Volta. Ou 0 Poema Continuo. Poesia Toda. Lisbon: Plarano, Lisbon: Portugalia, Publico [Lisbon] 4 Dec. Ultima Ciencia. Ladeira, Antonio. Osvaldo Manuel Silvestre and Pedro Serra. Lisbon: Cotovia, Ana Harherly e Silvina Rodrigues Lopes. U of California at Santa Barbara, Letzring, Monica. Lind, Georg Rudolf. Estudos sobre Eernando Pessoa. Lisbon: Imprensa Nacional-Casa da Moeda, Longinus, Cassius.
James Arendt and John M. New York: E. Mellen, Lopes, Silvina Rodrigues. Lisbon: Litoral, A Inocencia do Devir. Lisbon: Vendaval, Macedo, Helder and Ernesto Melo e Castro, eds. Contemporary Portuguese Poetry Manchester: Carcanet, Marinho, Maria de Fatima.
Lisbon: Arcadia, Martins, Manuel Frias. Herberto Helder: Um Silencio de Bronze. Lisbon: Horizonte, Magalhaes, Joaquim Manuel. Lisbon: A Regra do Jogo, Perkins, Juliet. The Perninine in the Poetry of Herberto Helder. London: Tamesis, Pessoa, Fernando. Richard Zenith. New York: Grove, Lisbon: Ulisseia. Pinto do Amaral, Fernando.
Rilke, Rainer Maria. Duino Elegies. Leishman and Stephen Spender. New York: W. Norton, Hanover: UP of New England, Silvestre, Osvaldo Manuel e Pedro Serra, ed. Voller, Jack G. Dekalb: Northern Illinois UP, He was a lec- turer in Portuguese and Lusophone literatures at Yale University He holds a Ph. His dissertation is on poetic subjectivity in Herberto Helder. His current research interests include con- temporary Luso-Brazilian poetry and fiction and Portuguese-American literature.
He has also published two books of his own poetry. Email: antonio. Os Passos em Volta de Herberto Helder, publicado pela primeira vez em , e o unico volume de contos numa obra predominantemente poetica. O modo discursivo por excelencia destes contos e o ironico. Eu sugiro que estes dois factores inviabilizam as estrategias de leitura monologicas atras mencionadas.
Na sua monumental historia pessoal, o fracasso de instituiu-se como inkio em maturidade de uma poetica radicada na inevitabilidade do dizer e do fazer poeticos. Para exemplificar a sua teoria, o homem ironico alude a historia do medico que Ihe receitou remedios para a loucura, e a do homem velho que, apesar de nao ter ja muito que esperar da vida, nao prescindia do amor, e entao amava as flores.
Enfim, nao seria isso mais nobre, digamos, mais conforme ao grande segredo da nossa humanidade? Aplico-o a noite, quando acordo as quatro da madrugada. E simples: quando acordo aterrorizado, vendo as grandes sombras incompreensiVeis erguerem-se no meio do quarto As vezes uso o processo de esvaziar as palavras Digo-a baixo vinte vezes. Ja nada significa. A ironia aparece intimamente ligada a um conceito tambem composicional em Herberto Helder: a metamorfose.
O pintor, mais do que o filosofo, e interprete do principio transcendente com o qual o homem comunica atraves da arte. A verticalidade do ponto de vista e entendida como a que mais fielmente representa o real a paisagem por ser a unica capaz de o contemplar atraves de varias perspectivas. Herberto Helder ensaia assim nestes textos uma poetica do realismo que decorre nao so da constante auto-reflexao da pratica artistica, mas que pretende ser igualmente uma tomada de posigao na polemica que desde os anos 40 opunha neo-realistas, presencistas e surrealistas.
A questao que se Ihe coloca e a de traduzir essa mesma realidade para o quadro respeitando a sua natLireza mutavel. Era a lei da meramorfose. Compreendida esta especie de fidelidade, o artista pinroii um peixe amarelo. Recordo que e nos anos 60 que Lacan, influenciado pelos surrealistas, define o real em termos de trauma. Nestes casos, o sentido deriva da repeti ;ao. O poema consegue o vazio que Deus habita Diogo A ironia como metodo tern em Kierkegaard o seu cultor etico por excelencia.
Para este filosofo, a ironia nao e apenas um momento de negatividade necessario Hegel , mas representa o inicio da SLibjectividade. E se identificamos em Herberto Helder grande parte da gramatica do Surrealismo, a conHuencia do modernismo tardio com a logica das vanguardas resultou numa Riga a escola contrapondo-se a ela uma solidao auroral oti uma mitologia pessoal Diogo Solidao auroral ou mitologia pessoal indicam uma instancia intra-literaria, formada no texto ou na obra, de maior impacto em textos liricos, isto e, naqtieles textos que exp5em uma experiencia Rmdada ntim Eti.
A poesia encontra-se assim no centro da experiencia literaria como a forma que mais claramente afirma a especificidade do dominio do literario Culler Esta e a problematica de que me ocupo em seguida. A proximidade entre estes textos, stibordinando-os no entanto a matriz lirica, favorece uma coesao textual que passa por uma coesao da instancia enunciativa.
No mesmo ano em que Roland Barthes proclamava a morte do Autor , Herberto Helder prometia-se ao silencio. Parecendo que coincidiam os animos destrutivos, eles encontravam-se na verdade em campos bastantes distantes. No entanto, o decreto de Barthes abalou estruturas que nao podem ser destruidas, como provam os discursos de minorias que sempre se aprestam a recuperar a figura do Autor, ainda que recusem um modo autoritario de garante do sentido.
A razao para este aparente paradoxo reside na impossibilidade de fazer desaparecer as posigoes de sujeito: ascendendo da morte do Autor, podera o leitor substituir o autor textual? Pretendo agora articular estas questoes com a obra de Herberto Helder. Impotencia e impostura, qualidades tragicas da linguagem poetica, passam a significar uma vivencia em crise e a falencia do sujeito. E assim que autores como Baudelaire resolvem triunhmtemente a vida na obra, e analogamente, outros como Rimbaud abandonam a literatura. Ao evidente fracasso do decreto vivido como uma descoberta corresponde a necessidade de o narrar, a expressao da aporia so podendo ser feita pelo poeta capaz de expressar a ambiguidade da sua condi ;ao.
The Rhetoric of Romanticism Para De Man, um texto no qual o autor declara ser o sujeito do seu proprio entendimento autobiografia nao difere funcionalmente de quando um sujeito reclama a autoria de determinada obra; nos dois casos estamos perante uma serie de substitui 9 oes especulares de autoria. Em nenhum texto de Herberto Helder esta especularidade e explicitada por via do nome: nunca o nome do autor aparece gravado em outros lugares alem da primeira pagina.
Neste momento recorro ao trabalho de Helena Biiescii na sua analise da instancia do autor na obra The Alexandria Quartet Lawrence Dtirrell. Defende Buescu que A segLinda prende-se com o facto de o efeito do autor textual da obra herbertiana se potencializar virtualmente em todos os seus narradores. Nao pretendendo debater a questao do efeito de autor na obra-prima de Durell, transfiro esta problematica para Herberto Helder em cuja obra esta questao e certamente mais complexa. Se o papel do leitor consiste em validar a aiitoria destes textos, Lima tarefa que Ihe cabe e de verificar os dados biograficos.
Vemos que, ao contrario do que foi dito acerca dos quatro romances de Lawrence Durell, o efeito autoral n Os Passos em Volta confunde-se com e implica-se em cada um dos narradores sem, ao mesmo tempo, o fazer explicitamente. Dever-se-a talvez falar de efeitos de autor sem abandonar a possibilidade da sua confluencia num fmico — isto e, nao submetendo a priori o texto a tirania do fmico.
Seguindo esta leitura, Os Passos em Volta nao obedece a uma logica temporal que o estabelece como variance em prosa de Poesia Toda mas como unidade- com unidade em equidistancia descentralizada desta. Obras Citadas Barthes, Roland. Roland Barthes: Oeuvres Completes. Paris: Seuil, Blesa, Tua. Los trazos del silencio. Zaragoza: Departamento de Linguistica General e Hispanica, Buescu, Helena Carvalhao.
Em Busca do Autor Perdido. Historias, Concepgdes, Teorias. Lisboa: Cosmos, Capel, Lee M. The Concept of Irony. With Constant Reference to Socrates. Soren Kierkegaard. Culler, Jonathan. Structuralist Poetics. Structuralism, Linguistics and The Study of Literature. A alquimia da linguagem. Leitura da cosmogonia poetica de Herberto Helder. Lisboa: INCM, Aesthetic Ideology.
Minneapolis: U of Minnesota P, Diogo, Americo Anonio Lindeza. Herberto Helder: texto, metdfora, metdfora do texto. Coimbra: Livraria Almedina, Foster, Hal. Gtismao, Manuel. Vol 1. Lisboa: Verbo, Os dots crepiiscidos. Sohre poesia portuguesa actual e oiitras cronicas. Lisboa: A Regra do Jogo, Marinho, Maria de ILitima.
Herberto Helder. A ohra e o homern. Lisboa: Editora Arcadia, Merquior, Jose Guilberme. Miller, Hillis. The bell was about to strike, and it was a matter of absolute and pre-eminent necessity that every body should look well at his watch. It was evident, however, that just at this moment the fellow in the steeple was doing something that he had no business to do with the clock. But as it now began to strike, nobody had any time to attend to his manoeuvres, for they had all to count the strokes of the bell as it sounded.
But the big bell had not done with them yet. Vondervotteimittiss flew at once into a lamentable state of uproar. Brazilian Portuguese answered: respondido. The clocks carved upon the furniture took to dancing as if bewitched, while those upon the mantel-pieces could scarcely contain themselves for fury, and kept such a continual striking of thirteen, and such a frisking and wriggling of their pendulums as was really horrible to see.
But, worse than all, neither the cats nor the pigs could put up any longer with the behavior of the little repeaters tied to their tails, and resented it by scampering all over the place, scratching and poking, and squeaking and screeching, and caterwauling and squalling, and flying into the faces, and running under the petticoats of the people, and creating altogether the most abominable din and confusion which it is possible for a reasonable person to conceive.
And to make matters still more distressing, the rascally little scape-grace in the steeple was evidently exerting himself to the utmost. Every now and then one might catch a glimpse of the scoundrel through the smoke. There he sat in the belfry upon the belfry-man, who was lying flat upon his back. In his teeth the villain held the bell-rope, which he kept jerking about with his head, raising such a clatter that my ears ring again even to think of it.
On his lap lay the big fiddle, at which he was scraping, out of all time and tune, with both hands, making a great show, the nincompoop! Let us proceed in a body to the borough, and restore the ancient order of things in Vondervotteimittiss by ejecting that little fellow from the steeple. The first action of my life was the taking hold of my nose with both hands.
My mother saw this and called me a genius: my father wept for joy and presented me with a treatise on Nosology. This I mastered before I was breeched. I now began to feel my way in the science, and soon came to understand that, provided a man had a nose sufficiently conspicuous he might, by merely following it, arrive at a Lionship. But my attention was not confined to theories alone. Every morning I gave my proboscis a couple of pulls and swallowed a half dozen of drams. When I came of age my father asked me, one day, If I would step with him into his study.
I resolved to be guided by the paternal advice. I determined to follow my nose. I gave it a pull or two upon the spot, and wrote a pamphlet on Nosology forthwith. All Fum-Fudge was in an uproar. Brazilian Portuguese according: conforme. I approached the artist and turned up my nose. Brazilian Portuguese artist: artista. There was a modern Platonist.
There was a human-perfectibility man. He observed that all fools were philosophers, and that all philosophers were fools. There was Theologos Theology. Brazilian Portuguese affinity: afinidade, parentesco. He shook his head at Clos de Vougeot, and told, with his eyes shut, the difference between Sherry and Amontillado. There was the President of the Fum-Fudge University. There was a Grand Turk from Stamboul. He could not help thinking that the angels were horses, cocks, and bulls; that somebody in the sixth heaven had seventy thousand heads; and that the earth was supported by a sky-blue cow with an incalculable number of green horns.
There was Delphinus Polyglott. There was Ferdinand Fitz-Fossillus Feltspar. There was myself. I spoke of myself;--of myself, of myself, of myself;--of Nosology, of my pamphlet, and of myself. I turned up my nose, and I spoke of myself. Brazilian Portuguese amenity: amenidade. Shall I say you will be there? The rooms were crowded to suffocation. A marked sensation immediately ensued.
It was not to be borne. I grew angry. I turned short upon Bluddennuff. Edgar Allan Poe 17 This was all that could be desired. We exchanged cards. At Chalk-Farm, the next morning, I shot off his nose--and then called upon my friends. At all this I felt mortified, and so called upon my father. You have a fine nose, it is true; but then Bluddennuff has none. You are damned, and he has become the hero of the day. I grant you that in Fum-Fudge the greatness of a lion is in proportion to the size of his proboscis--but, good heavens!
Touch-and-go Bullet-head came from the East, it follows that Mr. Bullet-head was a wise man; and if collateral proof of the matter be needed, here we have it-Mr. Irascibility was his sole foible, for in fact the obstinacy of which men accused him was anything but his foible, since he justly considered it his forte. I must do him the justice to say, however, that when he made up his mind finally to settle in that town, it was under the impression that no newspaper, and consequently no editor, existed in that particular section of the country.
I feel confident he never would have dreamed of taking up his residence in Alexander-the-Great-o-nopolis had he been aware that, in Alexander-the-Greato-nopolis, there lived a gentleman named John Smith if I rightly remember , who for many years had there quietly grown fat in editing and publishing the Brazilian Portuguese abandoning: abandonando. So remain he did; and he did more; he unpacked his press, type, etc. Oh, no doubt! The editor over the way is a genius--O, my!
Oh, goodness, gracious! Oh, tempora! Oh, Moses! Groups of excited individuals gathered at the corners of the streets. Every one awaited, with heartfelt anxiety, the reply of the dignified Smith. Oh, we perceive! Oh, my! Oh, goodness! That accounts for his reasoning in a circle, and explains why there is neither beginning nor end to him, nor to anything he says. Wonder if this O-ing is a habit of his?
By-the-by, he came away from Down-East in a great hurry. Bullet-head at these scandalous insinuations, I shall not attempt to describe. It was the sneer at his style that drove him to desperation. He would soon let the jackanapes see that he was mistaken. He, Touch-and-go Bullet-head, of Frogpondium, would let Mr. John Smith perceive that he, Bullet-head, could indite, if it so pleased him, a whole paragraph--aye! But no;--that would be yielding a point to the said John Smith. He, Bullet-head, would make no alteration in his style, to suit the caprices of any Mr.
Smith in Christendom. Perish so vile a thought! The O forever; He would persist in the O. He would be as O-wy as O-wy could be. Told you so, you know. Oh, no, no! Go home to your woods, old owl--go! Cool, now--cool! Do be cool, you fool! None of your crowing, old cock! Good Lord, John, how you do look! Told you so, you know--but stop rolling your goose of an old poll about so, and go and drown your sorrows in a bowl!
Uma Aventura no Sítio Errado (Portuguese Edition) [Ana Maria Magalhães e Isabel Alçada] on rapyzure.tk *FREE* shipping on qualifying offers. Buy Uma aventura: No sitio errado by (ISBN: ) from Start reading Uma Aventura no Sítio Errado (Portuguese Edition) on your Kindle in under.
Firmly, composedly, yet with an air of conscious power, he handed his MS. Elated by this success, he immediately threw himself upon the little-o box with a blindfold impetuosity--but who shall describe his horror when his fingers came up without the anticipated letter in their clutch?
Not a single little-o was in the little-o hole; and, glancing fearfully at the capitalO partition, he found that to his extreme terror, in a precisely similar predicament. Awe--stricken, his first impulse was to rush to the foreman. Brazilian Portuguese absorbed: absorvido, sorvido, absorto. The exigency here described is by no means of rare occurrence in printingoffices; and I cannot tell how to account for it, but the fact is indisputable, that when the exigency does occur, it almost always happens that x is adopted as a substitute for the letter deficient. The true reason, perhaps, is that x is rather the Brazilian Portuguese adopted: adotado, admitido, adotivo.
Edgar Allan Poe 23 most superabundant letter in the cases, or at least was so in the old times--long enough to render the substitution in question an habitual thing with printers. As for Bob, he would have considered it heretical to employ any other character, in a case of this kind, than the x to which he had been accustomed. Txld yxu sx, yxu knxw. Xh, nx, nx! Gx hxme tx yxur wxxds, xld xwl,--gx! Cxxl, nxw--cxxl! Dx be cxxl, yxu fxxl! Nxne xf yxur crxwing, xld cxck! Gxxd Lxrd, Jxhn, hxw yxu dx lxxk!
Txld yxu sx, yxu knxw,--but stxp rxlling yxur gxxse xf an xld pxll abxut sx, and gx and drxwn yxur sxrrxws in a bxwl! He had vanished, no one could tell how; and not even the ghost of him has ever been seen since. Unable to discover its legitimate object, the popular fury at length subsided; leaving behind it, by way of sediment, quite a medley of opinion about this unhappy affair. Another said that, indeed, Bullet-head had shown much X-uberance of fancy. That Bullet-head had been driven to an extremity, was clear to all; and in fact, since that editor could not be found, there was some talk about lynching the other one.
The more common conclusion, however, was that the affair was, simply, Xtraordinary and in-X-plicable. Even the town mathematician confessed that he could make nothing of so dark a problem. X, everybody knew, was an unknown quantity; but in this case as he properly observed , there was an unknown quantity of X.
He said that, for his part, he had no doubt about the matter at all, that it was a clear case, that Mr. Why then give a date to this story I have to tell? Let it suffice to say, that at the period of which I speak, there existed, in the interior of Hungary, a settled although hidden belief in the doctrines of the Metempsychosis. Of the doctrines themselves--that is, of their falsity, or of their probability--I say nothing.
They--the Hungarians--differed very essentially from their Eastern authorities. Never before were two houses so illustrious, mutually embittered by hostility so deadly. The origin of this enmity seems to be found in the words of Brazilian Portuguese abroad: no exterior, ao estrangeiro, fora, estrangeiro, exterior.
But more trivial causes have given rise--and that no long while ago--to consequences equally eventful. Besides, the estates, which were contiguous, had long exercised a rival influence in the affairs of a busy government. Moreover, near neighbors are seldom friends; and the inhabitants of the Castle Berlifitzing might look, from their lofty buttresses, into the very windows of the palace Metzengerstein.
Least of all had the more than feudal magnificence, thus discovered, a tendency to allay the irritable feelings of the less ancient and less wealthy Berlifitzings. What wonder then, that the words, however silly, of that prediction, should have succeeded in setting and keeping at variance two families already predisposed to quarrel by every instigation of hereditary jealousy? The prophecy seemed to imply--if it implied anything--a final triumph on the part of the already more powerful house; and was of course remembered with the more bitter animosity by the weaker and less influential.
Wilhelm, Count Berlifitzing, although loftily descended, was, at the epoch of this narrative, an infirm and doting old man, remarkable for nothing but an inordinate and inveterate personal antipathy to the family of his rival, and so passionate a love of horses, and of hunting, that neither bodily infirmity, great age, nor mental incapacity, prevented his daily participation in the dangers of the chase.
Frederick, Baron Metzengerstein, was, on the other hand, not yet Mary, followed him quickly after. Frederick was, at that time, in his fifteenth year. In a city, fifteen years are no long period--a child may be still a child in his third lustrum: but in a wilderness--in so magnificent a wilderness as that old principality, fifteen years have a far deeper meaning. From some peculiar circumstances attending the administration of his father, the young Baron, at the decease of the former, entered immediately upon his vast possessions.
Such estates were seldom held before by a nobleman of Brazilian Portuguese allay: acalma, acalmo, acalmem, acalme, acalmas, acalmar, acalmamos, acalmam, acalmai, acalmais. Edgar Allan Poe 27 Hungary. His castles were without number. And, indeed, for the space of three days, the behavior of the heir out-heroded Herod, and fairly surpassed the expectations of his most enthusiastic admirers. Shameful debaucheries--flagrant treacheries-unheard-of atrocities--gave his trembling vassals quickly to understand that no servile submission on their part--no punctilios of conscience on his own--were thenceforward to prove any security against the remorseless fangs of a petty Caligula.
But during the tumult occasioned by this occurrence, the young nobleman himself sat apparently buried in meditation, in a vast and desolate upper apartment of the family palace of Metzengerstein. The rich although faded tapestry hangings which swung gloomily upon the walls, represented the shadowy and majestic forms of a thousand illustrious ancestors. Here, richermined priests, and pontifical dignitaries, familiarly seated with the autocrat and the sovereign, put a veto on the wishes of a temporal king, or restrained with the fiat of papal supremacy the rebellious sceptre of the Arch-enemy.
There, the dark, tall statures of the Princes Metzengerstein--their muscular war-coursers plunging over the carcasses of fallen foes--startled the steadiest nerves with their vigorous expression; and here, again, the voluptuous and swan-like figures of the dames of days gone by, floated away in the mazes of an unreal dance to the strains of imaginary melody.
But as the Baron listened, or affected to listen, to the gradually increasing uproar in the stables of Berlifitzing--or perhaps pondered upon some more Brazilian Portuguese afloat: flutuante. The horse itself, in the foreground of the design, stood motionless and statue-like--while farther back, its discomfited rider perished by the dagger of a Metzengerstein.
Yet he did not remove it. On the contrary, he could by no means account for the overwhelming anxiety which appeared falling like a pall upon his senses. It was with difficulty that he reconciled his dreamy and incoherent feelings with the certainty of being awake. The longer he gazed the more absorbing became the spell--the more impossible did it appear that he could ever withdraw his glance from the fascination of that tapestry.
But the tumult without becoming suddenly more violent, with a compulsory exertion he diverted his attention to the glare of ruddy light thrown full by the flaming stables upon the windows of the apartment. The action, however, was but momentary, his gaze returned mechanically to the wall.
To his extreme horror and astonishment, the head of the gigantic steed had, in the meantime, altered its position. The neck of the animal, before arched, as if in compassion, over the prostrate body of its lord, was now extended, at full length, in the direction of the Baron. The eyes, before invisible, now wore an energetic and human expression, while they gleamed with a fiery and unusual red; and the distended lips of the apparently enraged horse left in full view his gigantic and disgusting teeth.
Stupified with terror, the young nobleman tottered to the door. As he threw it open, a flash of red light, streaming far into the chamber, flung his shadow with a clear outline against the quivering tapestry, and he shuddered to perceive that shadow--as he staggered awhile upon the threshold--assuming the exact position, and precisely filling up the contour, of the relentless and triumphant murderer of the Saracen Berlifitzing. Brazilian Portuguese absorbing: absorvendo, sorvendo, fascinante. Edgar Allan Poe 29 To lighten the depression of his spirits, the Baron hurried into the open air.
At the principal gate of the palace he encountered three equerries. With much difficulty, and at the imminent peril of their lives, they were restraining the convulsive plunges of a gigantic and fiery-colored horse. Where did you get him? We caught him flying, all smoking and foaming with rage, from the burning stables of the Castle Berlifitzing. But the grooms there disclaim any title to the creature; which is strange, since he bears evident marks of having made a narrow escape from the flames. If such had been the case, we know our duty better than to bring him into the presence of a noble of your family.
He soon, however, recovered his composure, and an expression of determined malignancy settled upon his countenance, as he gave peremptory orders that a certain chamber should be immediately locked up, and the key placed in his own possession. From this date a marked alteration took place in the outward demeanor of the dissolute young Baron Frederick Von Metzengerstein. Indeed, his behavior disappointed every expectation, and proved little in accordance with the views of many a manoeuvering mamma; while his habits and manner, still less than formerly, offered any thing congenial with those of the neighboring aristocracy.
He was never to be seen beyond the limits of his own domain, and, in this wide Brazilian Portuguese abruptly: abruptamente, bruscamente. Edgar Allan Poe 31 and social world, was utterly companionless--unless, indeed, that unnatural, impetuous, and fiery-colored horse, which he henceforward continually bestrode, had any mysterious right to the title of his friend. These repeated insults were not to be endured by an imperious nobility. Such invitations became less cordial--less frequent--in time they ceased altogether.
The charitable, nevertheless, attributed the alteration in the conduct of the young nobleman to the natural sorrow of a son for the untimely loss of his parents--forgetting, however, his atrocious and reckless behavior during the short period immediately succeeding that bereavement. Some there were, indeed, who suggested a too haughty idea of self-consequence and dignity. Others again among them may be mentioned the family physician did not hesitate in speaking of morbid melancholy, and hereditary ill-health; while dark hints, of a more equivocal nature, were current among the multitude.
In the glare of noon--at the dead hour of night--in sickness or in health--in calm or in tempest--the young Brazilian Portuguese atrocious: cruel, atroz. The space passed over in a single leap had been accurately measured, and was found to exceed, by an astounding difference, the wildest expectations of the most imaginative. The Baron, besides, had no particular name for the animal, although all the rest in his collection were distinguished by characteristic appellations. His stable, too, was appointed at a distance from the rest; and with regard to grooming and other necessary offices, none but the owner in person had ventured to officiate, or even to enter the enclosure of that particular stall.
It was also to be observed, that although the three grooms, who had caught the steed as he fled from the conflagration at Berlifitzing, had succeeded in arresting his course, by means of a chain-bridle and noose--yet no one of the three could with any certainty affirm that he had, during that dangerous struggle, or at any period thereafter, actually placed his hand upon the body of the beast. Instances of peculiar intelligence in the demeanor of a noble and high-spirited horse are not to be supposed capable of exciting unreasonable attention--especially among men who, daily trained to the labors of the chase, might appear well acquainted with the sagacity of a horse-but there were certain circumstances which intruded themselves per force upon the most skeptical and phlegmatic; and it is said there were times when the animal caused the gaping crowd who stood around to recoil in horror from the deep and impressive meaning of his terrible stamp--times when the young Metzengerstein turned pale and shrunk away from the rapid and searching expression of his earnest and human-looking eye.
He--if his ideas are worth Brazilian Portuguese acquainted: informado. Edgar Allan Poe 33 mentioning at all--had the effrontery to assert that his master never vaulted into the saddle without an unaccountable and almost imperceptible shudder, and that, upon his return from every long-continued and habitual ride, an expression of triumphant malignity distorted every muscle in his countenance. As the flames, when first seen, had already made so terrible a progress that all efforts to save any portion of the building were evidently futile, the astonished neighborhood stood idly around in silent and pathetic wonder.
But a new and fearful object soon rivetted the attention of the multitude, and proved how much more intense is the excitement wrought in the feelings of a crowd by the contemplation of human agony, than that brought about by the most appalling spectacles of inanimate matter.
Up the long avenue of aged oaks which led from the forest to the main entrance of the Chateau Metzengerstein, a steed, bearing an unbonneted and disordered rider, was seen leaping with an impetuosity which outstripped the very Demon of the Tempest. The career of the horseman was indisputably, on his own part, uncontrollable. The agony of his countenance, the convulsive struggle of his frame, gave evidence of superhuman exertion: but no sound, save a solitary shriek, escaped from his lacerated lips, which were bitten through and through in the intensity of terror.
The fury of the tempest immediately died away, and a dead calm sullenly succeeded. A white flame still enveloped the building like a shroud, and, streaming far away into the quiet atmosphere, shot forth a glare of preternatural light; while a cloud of smoke settled heavily over the battlements in the distinct colossal figure of--a horse. As I had never visited a place of the kind, I thought the opportunity too good to be lost; and so proposed to my travelling companion a gentleman with whom I had made casual acquaintance a few days before that we should turn aside, for an hour or so, and look through the establishment.
To this he objected--pleading haste in the first place, and, in the second, a very usual horror at the sight of a lunatic. He begged me, however, not to let any mere courtesy towards himself interfere with the gratification of my curiosity, and said that he would ride on leisurely, so that I might overtake him during the day, or, at all events, during the next. As he bade me good-bye, I bethought me that there might be some difficulty in obtaining access to the premises, and mentioned my fears on this point.
He replied that, in fact, unless I had personal knowledge of the superintendent, Monsieur Maillard, or some credential in the way of a letter, a difficulty might be found to exist, as the regulations of these private mad-houses were more rigid than the public hospital laws. For himself, he added, he had, some years since, made the acquaintance of Maillard, and Brazilian Portuguese acquaintance: conhecimento, pessoa conhecida, conhecido. Through this dank and gloomy wood we rode some two miles, when the Maison de Sante came in view. It was a fantastic chateau, much dilapidated, and indeed scarcely tenantable through age and neglect.
Its aspect inspired me with absolute dread, and, checking my horse, I half resolved to turn back. I soon, however, grew ashamed of my weakness, and proceeded. As we rode up to the gate-way, I perceived it slightly open, and the visage of a man peering through. In an instant afterward, this man came forth, accosted my companion by name, shook him cordially by the hand, and begged him to alight. It was Monsieur Maillard himself. He was a portly, fine-looking gentleman of the old school, with a polished manner, and a certain air of gravity, dignity, and authority which was very impressive.
When he had gone, the superintendent ushered me into a small and exceedingly neat parlor, containing, among other indications of refined taste, many books, drawings, pots of flowers, and musical instruments. A cheerful fire blazed upon the hearth. At a piano, singing an aria from Bellini, sat a young and very beautiful woman, who, at my entrance, paused in her song, and received me with graceful courtesy. Her voice was low, and her whole manner subdued.
I thought, too, that I perceived the traces of sorrow in her countenance, which was excessively, although to my taste, not unpleasingly, pale. She was attired in deep mourning, and excited in my bosom a feeling of mingled respect, interest, and admiration. Edgar Allan Poe 37 while secretly watched, were left much apparent liberty, and that most of them were permitted to roam about the house and grounds in the ordinary apparel of persons in right mind. I confined my remarks, therefore, to general topics, and to such as I thought would not be displeasing or exciting even to a lunatic.
She replied in a perfectly rational manner to all that I said; and even her original observations were marked with the soundest good sense, but a long acquaintance with the metaphysics of mania, had taught me to put no faith in such evidence of sanity, and I continued to practise, throughout the interview, the caution with which I commenced it. Presently a smart footman in livery brought in a tray with fruit, wine, and other refreshments, of which I partook, the lady soon afterward leaving the room. As she departed I turned my eyes in an inquiring manner toward my host.
We seldom find so much of forethought in young men; and, more than once, some unhappy contre-temps has occurred in consequence of thoughtlessness on the part of our visitors. While my former system was in operation, and my patients were permitted the privilege of roaming to and fro at will, they were often aroused to a dangerous frenzy by injudicious persons who called to inspect the house. Hence I was obliged to enforce a rigid system of exclusion; and none obtained access to the premises upon whose discretion I could not rely. The danger of the soothing system was, at all times, appalling; and its advantages have been much overrated.
I believe, sir, that in this house it has been given a fair trial, if ever in any. We did every thing that rational humanity could suggest. I am sorry that you could not have paid us a visit at an earlier period, that you might have judged for yourself. But I presume you are conversant with the soothing practice--with its details. What I have heard has been at third or fourth hand. We contradicted no fancies which entered the brains of the mad. On the contrary, we not only indulged but encouraged them; and many of our most permanent cures have been thus effected.
There is no argument which so touches the feeble reason of the madman as the argumentum ad absurdum. We have had men, for example, who fancied themselves chickens. The cure was, to insist upon the thing as a fact--to accuse the patient of stupidity in not sufficiently perceiving it to be a fact--and thus to refuse him any other diet for a week than that which properly appertains to a chicken. In this manner a little corn and gravel were made to perform wonders. We put much faith in amusements of a simple kind, such as music, dancing, gymnastic exercises generally, cards, certain classes of books, and so forth.
A great point was to set each lunatic to guard the actions of all the others. To repose confidence in the Brazilian Portuguese accuse: acusem, acuso, acuse, acusas, acusa, acusam, acusais, acusai, acusamos, culpo, culpai. Edgar Allan Poe 39 understanding or discretion of a madman, is to gain him body and soul. In this way we were enabled to dispense with an expensive body of keepers.
Now and then, the malady of some individual growing to a crisis, or taking a sudden turn of fury, we conveyed him to a secret cell, lest his disorder should infect the rest, and there kept him until we could dismiss him to his friends--for with the raging maniac we have nothing to do. He is usually removed to the public hospitals. The system had its disadvantages, and even its dangers. It is now, happily, exploded throughout all the Maisons de Sante of France. Believe nothing you hear, and only onehalf that you see. Now about our Maisons de Sante, it is clear that some ignoramus has misled you.
After dinner, however, when you have sufficiently recovered from the fatigue of your ride, I will be happy to take you over the house, and introduce to you a system which, in my opinion, and in that of every one who has witnessed its operation, is incomparably the most effectual as yet devised. To a sensitive mind there is always more or less of the shocking in such exhibitions; and I do not wish to spoil your appetite for dinner.
We will dine. I can give you some veal a la Menehoult, with cauliflowers in veloute sauce--after that a glass of Clos de Vougeot—then your nerves will be sufficiently steadied. They were, apparently, people of rank-certainly of high breeding-although their habiliments, I thought, were extravagantly rich, partaking somewhat too much of the ostentatious finery of the vielle cour. I noticed that at least two-thirds of these guests were ladies; and some of the latter were by no means accoutred in what a Parisian would consider good taste at the present day. Many females, for example, whose age could not have been less than seventy were bedecked with a profusion of jewelry, such as rings, bracelets, and earrings, and wore their bosoms and arms shamefully bare.
I observed, too, that very few of the dresses were well made--or, at least, that very few of them fitted the wearers. In looking about, I discovered the interesting girl to whom Monsieur Maillard had presented me in the little parlor; but my surprise was great to see her wearing a hoop and farthingale, with high-heeled shoes, and a dirty cap of Brussels lace, so much too large for her that it gave her face a ridiculously diminutive expression.
When I had first seen her, she was attired, most becomingly, in deep mourning. Edgar Allan Poe 41 antiquated notions; and then, too, upon conversing with several members of the company, my apprehensions were immediately and fully dispelled. For example, the floor was uncarpeted; in France, however, a carpet is frequently dispensed with.
The windows, too, were without curtains; the shutters, being shut, were securely fastened with iron bars, applied diagonally, after the fashion of our ordinary shop-shutters. The apartment, I observed, formed, in itself, a wing of the chateau, and thus the windows were on three sides of the parallelogram, the door being at the other. There were no less than ten windows in all. The table was superbly set out.
It was loaded with plate, and more than loaded with delicacies. The profusion was absolutely barbaric. There were meats enough to have feasted the Anakim. Never, in all my life, had I witnessed so lavish, so wasteful an expenditure of the good things of life. There seemed very little taste, however, in the arrangements; and my eyes, accustomed to quiet lights, were sadly offended by the prodigious glare of a multitude of wax candles, which, in silver candelabra, were deposited upon the table, and all about the room, wherever it was possible to find a place.
There were several active servants in attendance; and, upon a large table, at the farther end of the apartment, were seated seven or eight people with fiddles, fifes, trombones, and a drum. These fellows annoyed me very much, at intervals, during the repast, by an infinite variety of noises, which were intended for music, and which appeared to afford much entertainment to all present, with the exception of myself. Upon the whole, I could not help thinking that there was much of the bizarre about every thing I saw--but then the world is made up of all kinds of persons, with all modes of thought, and all sorts of conventional customs.
I had travelled, too, so much, as to be quite an adept at the nil admirari; so I took my seat very coolly at the right hand of my host, and, having an excellent appetite, did justice to the good cheer set before me. Brazilian Portuguese accustomed: acostumado, usual, costumado, habituado. The ladies, as usual, talked a great deal. I soon found that nearly all the company were well educated; and my host was a world of good-humored anecdote in himself. He seemed quite willing to speak of his position as superintendent of a Maison de Sante; and, indeed, the topic of lunacy was, much to my surprise, a favorite one with all present.
A great many amusing stories were told, having reference to the whims of the patients. There is scarcely an insane asylum in France which cannot supply a human teapot. Our gentleman was a Britannia--ware tea-pot, and was careful to polish himself every morning with buckskin and whiting. He was a troublesome patient; and we had much ado to keep him within bounds. For a long time he would eat nothing but thistles; but of this idea we soon cured him by insisting upon his eating nothing else.
De Kock! I will thank you to behave yourself! You have spoiled my brocade! Is it necessary, pray, to illustrate a remark in so practical a style? Our friend here can surely comprehend you without all this. Upon my word, you are nearly as great a donkey as the poor unfortunate imagined himself. Your acting is very natural, as I live. I had no intention of offending. Menhoult--you will find it particularly fine. I will change my plate, however, and try some of the rabbit.
I will just help myself to some of the ham. I will have none of their rabbit au-chat--and, for the matter of that, none of their cat-au-rabbit either. I mean the man who took himself for a bottle of champagne, and always went off with a pop and a fizz, in this fashion. This behavior, I saw plainly, was not very pleasing to Monsieur Maillard; but that gentleman said nothing, and the conversation was resumed by a very lean little man in a big wig. Sir, if that man was not a frog, I can only observe that it is a pity he was not.
His croak thus--o-o-o-o-gh--o-o-o-ogh! He persecuted the cook to make him up into pies--a thing which the cook indignantly refused to do. For my part, I am by no means sure that a pumpkin pie a la Desoulieres would not have been very capital eating indeed! You must not be astonished, mon ami; our friend here is a wit--a drole--you must not understand him to the letter.
He grew deranged through love, and fancied himself possessed of two heads. It is not impossible that he was wrong; but he would have convinced you of his being in the right; for he was a man of great eloquence. He had an absolute passion for oratory, and could not refrain from display. I call him the tee-totum because, in fact, he was seized with the droll but not altogether irrational crotchet, that he had been converted into a tee-totum. You would have roared with laughter to see him spin.
He would turn round upon one heel by the hour, in this manner--soHere the friend whom he had just interrupted by a whisper, performed an exactly similar office for himself. The thing is absurd. Madame Joyeuse was a more sensible person, as you know. She had a crotchet, but it was instinct with common sense, and gave pleasure to all who had the honor of her acquaintance. She found, upon mature deliberation, that, by some accident, she had been turned into a chicken-cock; but, as such, she behaved with propriety. Brazilian Portuguese absolute: absoluto, completo.
She hung down her head, and said not a syllable in reply. But another and younger lady resumed the theme. It was my beautiful girl of the little parlor. She was a very beautiful and painfully modest young lady, who thought the ordinary mode of habiliment indecent, and wished to dress herself, always, by getting outside instead of inside of her clothes. It is a thing very easily done, after all. My nerves were very much affected, indeed, by these yells; but the rest of the company I really pitied.
I never saw any set of reasonable people so thoroughly frightened in my life. They all grew as pale as so many corpses, and, shrinking within their seats, sat quivering and gibbering with terror, and listening for a repetition of the sound. It came again--louder and seemingly nearer--and then a third time very loud, and then a fourth time with a vigor evidently diminished.
I now ventured to inquire the cause of the disturbance. The lunatics, every now and then, get up a howl in concert; one starting another, as is sometimes the case with a bevy of dogs at night. It occasionally happens, however, that the concerto yells are succeeded by a simultaneous effort at breaking loose, when, of course, some little danger is to be apprehended. I have always understood that the majority of lunatics were of the gentler sex.
Some time ago, there were about twentyseven patients here; and, of that number, no less than eighteen were women; but, lately, matters have changed very much, as you see.
Whereupon the whole company maintained a dead silence for nearly a minute. As for one lady, she obeyed Monsieur Maillard to the letter, and thrusting out her tongue, which was an excessively long one, held it very resignedly, with both hands, until the end of the entertainment. To conclude, this may be the specific characteristic of Serbian animation. Both programs were founded and led by prof. All the films are diploma, master or PhD works. An anthology composed of five stories of Edgar Allan Poe, each crafted in a graphic design style uniquely suited to the individual segments and inspired by visual artists and illustrators.
The animation styles and techniques used for each segment vary with the graphic styles. Sasha rebels against her destiny, flees her home and resolves to go join Oloukine Sasha rebela-se contra o seu destino e foge de casa, resolvendo juntar-se Oloukine… num longo caminho para Norte. Sasha, a young aristocratic girl growing up in Russia at the end of the 19th century, dreams of the Great North and anguishes over the fate of her grandfather Oloukine, a renowned scientist and Arctic explorer who has yet to return from his latest expedition.
Oloukine has passed on his calling as an explorer to Sasha, but her parents. Who Will Pay the Bill? Nasceu em , em Lamego. JURi Was born in in Lamego. It was here that her passion for television was born. She also briefly raided the world of cinema, in the area of short film production. She has been responsible for the content and production of various television genres.
In recent years, she has dedicated herself to producing animation and programs for children. Os seus textos foram publicados em seis livros entre e Nuno Saraiva was born in Lisbon, 27th of August He teaches some workshops in illustration and comics courses at the Ar. Co school - Center for Art and Visual Communication. From the workshops taught he teaches political cartoon and, recently, he introduced the first workshop for erotic comics in Portugal. Mait Laas born in is internationally wellknown Estonian animation artist, author and director. Mait Laas has held lectures and led programmes about animation, organized animation workshops, he has also opened exhibitions with his paintures and graphics.
His texts have been published in six books from He has been a jurymember of international filmfestivals and written filmcritics. Composer and sound designer, I create soundtracks for animated films and series. Working with such a great mentor over the years, my skills upgraded to a point where we both decided to share credits for music and sound design. In , I founded my own studio offering creative and technical sound post-production services specialized in animation. I receive mandates as well for the music and the sound design, as for the production of the whole soundtrack.
Durante o processo, Mustafa partilha a sua sabedoria e os seus poemas com os naturais de Orphalese, enquanto Almitra o segue, secretamente. On the fictional island of Orphalese, a mischievous, eight-year-old girl, Almitra, meets Mustafa, a political prisoner under house arrest. From this chance encounter, an unlikely friendship is born.
But on this fateful day that they meet, Mustafa is told by the Authorities that he is finally being released and guards immediately escort him towards the ship that will take him back to his own country. Along the way, Mustafa shares his wisdom and poems with the people of Orphalese, while Almitra secretly follows him. At each stop, she imagines breathtaking visual sequences that accompany his words. When Almitra realizes, however, that the Authorities have a very dark surprise in store for Mustafa, she must do everything possible to help him.
In , Allers worked on Rock and Rule for animation studio Nelvana. It was nominated for an Academy Award in Roger Allers made his feature-film directing debut with The Lion King, beeing instrumental in shaping the structure and dialogue for the six Disney animated features made before The Lion King, serving as head of story on Oliver and Company and Beauty and the Beast while also contributing.
A much accomplished artist of his time and now in his mid-fifties, Tetsuzo can boast clients from all over Japan, and tirelessly works in the garbageloaded chaos of his house-atelier. Short-tempered, utterly sarcastic, with a sweet tooth but no passion for sake or money, he would charge a fortune for any job he is not seriously willing to undertake. Decades later, Europe was going to discover the immense talent of Tetsuzo. He was to become best known by one of his many names: Katsushika Hokusai. However, very few today are even aware of the woman who assisted him all her life, and greatly contributed to his art while remaining uncredited.
He then shifted to independent filmmaking, pursuing more personal projects. Interna-tional recognition came with Summer Days with Coo and Annecy-winning Colorful , both awarded at the Japan Academy Prizes, and theatrically distributed in France and other countries. The Sea King and his family, including our heroine Little, are forced to abandon the deep waters of their home and relocate to a big migrant-crowded city harbor where a great romance takes root Jan Balej is an animation artist, film director, designer, illustrator and scriptwriter.
A family of scientists is on the brink of discovering a powerful invincibility serum when all of a sudden, the parents are mysteriously abducted, leaving their young daughter, April, behind. But soon, she finds herself at the center of a bizarre conspiracy. Along with Darwin and her trusted friend, Julius, April embarks on an adventure to find her parents and discover the truth behind their disappearance.
Christian Desmares started working in animation in Baseado no romance de Joan G. Based on the novel by Joan G. Sent from her foster home in the city one summer to a sleepy town by the sea in Hokkaido, Anna dreams her days away among the marshes. Anna never expected to meet a friend like Marnie, who does not judge her for being just what she is.
But no sooner has Anna learned the loveliness of friendship than she begins to wonder about her new found friend…. Three young pets decide to ask Sinterklaas Santa Claus if they too can have presents. In New York, a mysterious, deformed man injures Alex, a police inspector tailing him. Like a phantom, invisible to all, he can fly and pass through walls. Was born in in Lamego. He has been an animator on three animated short film projects, and published several articles on the topic of animation and videogames.
Juntou-se a dois dos seus colegas de curso para formar a produtora Belzebu Films. He is a freelancer, who lives in London and works mainly as an animation director. He joined two of his classmates to form the Belzebu Films company. Besides his filmic work, he continued, at the same time, to make illustrations for publications such as Walpaper magazine, Sunday Times, New York Times, etc.. Short film curator and selector for various international festivals. Since , freelancer producer of Romanian animation short films: The scream by Sebastian Cosor.
Tem dividido a sua atividade como encenadora, programadora, formadora e atriz. Maputo, Mozambique, She has divided her activities into director, programmer, trainer and actress, and is the co-artistic director of the Teatro Meridional — Portugal. This is the story of a man with a misguided and intense focus — one which started in his youth and carried on to old age.
His life events are chronicled through the loss of his teeth — and how his obsessive efforts to amend what was damaged bring on yet further destruction. A reflection about our daily relationship with money and time. It is about the stranglehold of everyday madness and the automatisms, with and in which we are forced to live, work, breathe, think, and exist. Nalguns casos, encontrei-me, por isso, tornei-me numa pessoa diferente. The concord and discord between self and imaginary self. The deviation and reconciliation between self and imaginary self.
Uma professora e a sua aluna demoram-se na sala de aula. A teacher and her pupil linger in an empty classroom. Through their looks and gestures, a strange confrontation begins. A pessimistic view on the human fate, a universal tale of the world possessed by evil.
You may take, it for granted, that when manuscript can be read it is never worth reading. Pero, todo lo que necesitas para dibujar cabezas y manos de manera realista lo puedes encontrar en este grandioso libro del maestro del dibujo de todos los tiempos Andrew Loomis. A hora da verdade para mim foi quando o cara que eu considerava ser o amor da minha vida me deixou por outra pessoa. New photos in the list to the right J. You have spoiled my brocade!
The film presents the story as a sequence of recurring plagues and misfortunes where Man, trying to find his own place, gets lost even more and falls even lower. When summer arrives, the beaches near the rural world are taken by strange invaders. The birth of the Universe, and the origin of all creation — humans invented tools, discovered fire and painted murals in dark caves. Murals were created on a mission to pass down stories and history to posterity.
When I have a look back in History and imagine the life style of ancient humans, I always feel grateful for what we have now in our modern civilization. Suleima sticks to her convictions and joined the Syrian revolution from its beginning. Both vulnerable and strong, Suleima carries on with what sees as acts of solidarity towards her fellow citizens.
Uma menina tem medo do escuro. Mas tanto faz! The little girl is afraid of the darkness. It is time to go to bed and she is not sure of her new night-light. But whatever! She will have grown tomorrow. A second-degree murder that does not cut down the guilt. One paradox of images is that they hold back what they show, and keep at a distance what they bring close. This seems even more applicable to a film such as Uncanny Valley, which deals with World War I — an event which is already beyond something that can be remembered, and now only plays out in historical memory.
How can the flames of desire be rekindled after 25 years of married life? An erotic comedy entirely made through the use of modelling clay, delves into the private lives of Alice and Henry, a couple in their fifties numbed by routine. How do you keep sexual attraction alive and well when you think you know your significant other? The answer is simple: just never stop marveling at the everyday things your partner does. A farmer happened to see this scene, so he put down his hoe and waited beside the stump, wishing to get more crashed rabbits This film is based on a long-term study of the dreams of chimney sweepers.
The most frequently encountered images have been selected from the abundant material available and the script was created on the basis of those images. Statistics support the claim that this film presents one of the dreams that chimney sweepers encounter most frequently. At lunch, James observes his family. Ele tem tudo aquilo que necessita — uma janela pela qual olhar, uma planta a crescer e a florir, uma galinha a fazer-lhe companhia. Sobre que guerra fala? The third in a striking closer to his home.
Which country is the plot set in? What war is this an account of? Slowly settling in the hearts of men and women who become hostage to her grace, there she is revealing all her nature, at the same time as she utters his name unmercifully. Visual poetry in the rhythm of fantastic dreams and passionate nights.
A film without main characters where the lives of characters that have lost their head intertwine in a dramatic and less dramatic way in an ordinary concrete panel apartment building. There are two people who face each other in each space. Each pair keeps a little distance between their partners and finds some fearful, tender, and comfortable feelings that fascinate them.
Cable cars converted into houses, how fascinating Three people are struggling upward on an escalator that is going down. Is the goal to fight their way to the top, or is to relax and just go with the flow of the stairs to the bottom? To visit all four hundred exhibition halls of the Hermitage in St Petersburg would require the curious to walk twenty kilometres; to give even a casual glance to all the exhibits would take nine years. A romp through the museums of England and Switzerland in which the objects on display come to life and reveal the stories of their creation.
Um pai cavalga com o seu filho pela floresta. A father rides with his son through the forest. This is a film about how the War settles in the body of the people who are forced to look at it right in the eye. And then, thousands of miles away and dozens of years ahead, how, like a virus, it can still infect other human beings.
A clayography of a lonely deaf Parisian taxidermist whose life is turned upside-down and back to front when a dead pigeon arrives on his doorstep. O que farias se tivesses 12 anos e tivesses ganho poderes sobrenaturais? Usar-los-ias para fazer o bem? Ou o mal? Talvez um pouco dos dois. What would you do if you were 12 and suddenly found yourself charged with God-like powers? Would you use them for good? For bad? Perhaps a little of both? For one Grade 7 boy whose mind starts to wander while dissecting a frog in Biology class, the possibilities seem endless.
Contacto Contact: contact vivement-lundi. When her grandmother dies, a young Eurasian girl relives the story of the women of her family, from the colonial Indochina to the isolation in a transit camp. Between memories, dance, anger and traditional rituals, Emilie learns to accept this heritage…. The story of Coyote, Iktome, and the Rock is about generosity. The worldwide awarded film takes us into the spectacular and magical universe of Native American folklore, following the adventures of the two famous mischief-makers of the Great Plains getting into trouble as they bid defiance to Iya, the sleeping magic rock.
A narrated animation in the form of a journal, produced as a combination of drawings and graphics. The main character is a loser and goes through his unlucky period. The only thing that cheers him up are the voices of tender owls behind his back. Some absurd situations around the park benches with a lot of different characters.
Herman is a rat who enjoys heavy drinking, loud grind music and chess. One day, a very tidy cat who has a weakness for messy macho-men, decides to move in. When his bomber jet is raked with enemy cannon-fire over France, Mynarski unsuccessfully attempts to save the life of a trapped crewmate before falling into an incandescent deathspiral towards Earth. Somente os criminosos. Moving through a world filled with scanners and surveillance algorithms, while frivolously using different social networks, online forms and credit cards, the man of today gives away his privacy voluntarily.
A decent citizen has nothing to hide. Only criminals do. A dog named Popi and a monkey named Huhuu are waiting for their master to come home, who is, for some reason, is running late From this particular day, there starts their mutual life. This is verity, more phantasmal than a dream and more dreadful than truth. One day, it jumps into a pair of boots and goes off for a walk inviting everyone it meets to follow.
Boring everyday life fades as they all skip and dance along happily. I have to express the feelings due to the beginning of that exciting festival. One cold winter evening, a serious woman is forced to lighten up when her mind jumps out of her head. Vive e trabalha ainda em Zagreb e Viena. As a director, he explores several animation techniques: Os Salteadores , Fado Lusitano , and Clandestino , being their main films. Animator, musician, d. Born in Zagreb, in Since lecturer for animation at different art universities: Kunstuni Linz, Academy of fine arts Zagreb. Since artistic director of Animafest Zagreb.
Since member of the artistic council for film at City of Zagreb. Arte Video, Palmanova Paola Bristot was born in Aviano Italy in, graduated in History of Arts in DAMS in Bologna in with a thesis about Luigi Veronesi and different relations in the artistic expression drawings, animation on the celluloid, music and specialized in the Graphic work of Andrea Pazienza, a very popular author of comic book in Itay.
Like president of the Viva Comix association realized many exhibition expecially of graphic art and illustration. Associazione Viva Comix, Ottomani. Estudou bateria e praticou surf. He studied drums and used to surf. He would like to study game design in the future. His life was always connected to arts, both writing and visual arts. Drawing has been a part of him for as long as he can remember. Writing started in high school and his work in animation started a little over four years ago. It started off as a personal interest before the professional course. At that time, he knew less about the area.
The course allowed him to expand and develop techniques and knowledge, related to some personal learning through discovery and experience. Diferentes cores e sabores numa cidade, num filme. O For the last time, a girl enters the dorm room of her deceased brother. The drowsiness flocking towards me during the afternoon lessons, the head gets heavier and I try to stay alert. This place is where my grandparents, my parents and I once lived. Even though I love my memories and feelings of it, it does exist and keeps to be in existence. Nada parece diverti-los. Nothing seems to amuse them.
When one of them talks about the crazy lady from the cafeteria and what she dared to do to their friend Eliott, the four friends decide to set up a revenge for Eliott. Steven, the leader of the group, loses his temper and enrols his friends into something they will regret Os adornos hipnotizantes abundam com vida, afetando os personagens. Moko is a dynamic story about shapes, colours and ornaments. A story of first parents and first lovers imerges from the multicoloured artistic and musical impression. The hypnotizing ornaments teem with life and affect the characters. No meio da noite, Marc arranca no seu carro num momento de raiva.
In the middle of the night, Marc drives off in his car in a fit of rage. Eight people, with different ages and different social statuses are sunbathing on a nudist beach and talking about different topics that become more and more personal and unpleasant. The dialogues are all true reports. Sicily, A boy made out of porcelain meets a porcelain girl. She has lost most of her porcelain surface, and they develop a relationship when he starts giving her pieces of himself. Contacto Contact: animazione fondazionecsc.
He is looking for a companion… According to the rules of the Wild West, thieves must be punished. In the world that is made of paper, everybody in the city tends to focus on technologies and forget to care about our mother-nature. A big-eared character living in a metropolis is oversensitive to its noise. He faces lots of misadventures and the chaos is chasing him, until he reaches his home. He starts realising his sensitivity is not a flaw, but a talent.
Ready to face the city again, he uses its sounds to create music. A figure that is both tree and woman, slowly being explored as it continuously breaks and grows and takes on different forms. Like leaves that leave the nimble limbs on tiptoe, the timid barks of timber cut to shape. At the market of Yerevan, a merchant invites us to share his fruits and his history… Accompanied by birds, we discover the life of this man full of the colours of Armenia.
In February of a young fashionista, armed with a degree in design and two years of experience, travelled to Europe for eight months to work as an unpaid intern in couture design houses. I have always been interested in that moment between living and nonliving, the moment in which our existence comes to an end; in such a context He discovers his true self.
On the top of the Alpahcu Grande, Chico and Chica teach us to breed clouds, so they can transform into a storm. An ironic tale with a modern twist about a poor fisherman, his daughter Mashenka, and other fabulous real heroes. A robot couple goes to the therapist to solve their problems. A dramatic story about the connection of plant lovers. Ao pendurar a sua roupa lavada, o morador observa como a sua t-shirt toca no vestido da vizinha. Dreams woven from airy fabrics make wishes tangible.
Walter is a loner. Might he be closer than ever to his own happiness? A black comedy about a man with cannibalistic urges who travels back through his life, looking for the root of his unhappiness. A dancer loses her rhythm. An expedition through the interior of fear, guilt and shame. Duas pessoas. Duas maneiras de observar o mundo. Rumble of train rails; Crashing of ocean waves; Soft caress of distant wind.
Two people. But it is not easy at all, since Ivan and the wolf like each other right away The fibers of our being are what we seek to control. A musician plays in a square where he faces the indifference and scorn of the neighbours. He captures the lost sailors boats to add them to his collection. But the crab is getting old, and it is more and more difficult for him to build his collection….
An invented Japanese Tale about the birth of the lotus. Os desenhos de um peculiar gato e uma galinha perseguem a mosca. In a toilet, a small Fly flies around a lamp. Suddenly it gets an electric shock! The Fly lands on the wall and as it touches it, some drawings and advertising posters come to life. The drawings of a curious cat and a chicken begin to run after the fly.
Will they get it? A film that sets smaller yet important things in life into perspective. The story is about a loving grandmother and her affection for small children.