User:Jahsonic/AHE/The love that dare not speak its name
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| - | ’Ik heb je nog niets verteld, Sodo. Maar vooraleer ik naar bed ga – nu me nog de energie rest voor de rationele discussie – wil ik je nog zo veel meer vertellen over dingen in deze wereld waarvan je, zoals je hebt toegeven, vooralsnog weinig kaas van gegeten hebt, als de slaap het me niet belet. Omdat ik in een praatgrage stemming ben stel ik voor naar mijn huis te gaan en samen het bed op te zoeken. Dan vertel ik je alle redenen waarom de ballen gedoemd zijn immer buiten de kut te blijven. En wat ik je vanavond niet meer vertellen kan, sparen we voor morgenochtend.’ | ||
| - | "I have not told you yet, Sodo. But before I go to bed - now I have the energy for the rest rational discussion - I want so much more about things in this world that you, as you have to admit, yet few know anything, you sleep when the does not prevent me. Because I'm in a talkative mood, I suggest to my house and along the bed to look. I'll tell you all the reasons why the balls are doomed to remain forever outside the cunt. And what I can not tell you tonight, we are saving for tomorrow. "The next morning he talks about why some cunts are better than others, why pussy farts can also make and why all cunts stink like shit. Not very Sstichtend, but all in a style modeled on the Socratic dialogues, which gives the material a certain respectability. The icing on the cake is a story-within-a-story that explains why the fuck should remain outside a sex act. The story is set in an imaginary senate, a key story for the then Italian politics of Siena, the city of the author. That imaginary senate consists Cocks, cunts, Anus and Kloten. The Cocks are best seen. | + | |
| + | "I haven't told you anything. Sodo. But before I go to bed, while I still have the energy for rational discussion, since we have entered into these matters, I would like to tell you — if sleep does not prevent me — about things in this world that, as you admit, you have litde understood until now. Since I feel in the mood to talk, let's go to my house and go to bed together. And in that way, in bed, I will tell you some or all of the reasons that the balls stay outside the cunt. Those things that I can't tell you tonight we'll save for tomorrow morning." | ||
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| + | The next morning he talks about why some cunts are better than others, why pussy farts can also make and why all cunts stink like shit. Not very Sstichtend, but all in a style modeled on the Socratic dialogues, which gives the material a certain respectability. The icing on the cake is a story-within-a-story that explains why the fuck should remain outside a sex act. The story is set in an imaginary senate, a key story for the then Italian politics of Siena, the city of the author. That imaginary senate consists Cocks, cunts, Anus and Kloten. The Cocks are best seen. | ||
| The fable is about a world where the big dicks and pussies Beautiful waving the stick and have dominion over the Little Cocks, cunts the Ugly, the Anus and Kloten, an allegorical representation of the world of alpha males and females. The big dicks have become so complacent that even the beautiful cunts get alienated from them. The others are planning a revolt to the tyrannical rule of the big dicks overthrow. They seek to mobilize support Kloten and the Anus. Although they first be willing to participate in the revolution, betrayed the Kloten, known for their cowardice, eventually the plot, leading to a massacre of the Little dicks, pussies and the Ugly Anus. Eventually, decimated but not eradicated, winning the Little Cocks, cunts and Anus Ugly yet the battle and murder almost all big dicks and pussies Beautiful. Rest is only appropriate punishment for the Kloten to invent the worst and most evil where traitors. | The fable is about a world where the big dicks and pussies Beautiful waving the stick and have dominion over the Little Cocks, cunts the Ugly, the Anus and Kloten, an allegorical representation of the world of alpha males and females. The big dicks have become so complacent that even the beautiful cunts get alienated from them. The others are planning a revolt to the tyrannical rule of the big dicks overthrow. They seek to mobilize support Kloten and the Anus. Although they first be willing to participate in the revolution, betrayed the Kloten, known for their cowardice, eventually the plot, leading to a massacre of the Little dicks, pussies and the Ugly Anus. Eventually, decimated but not eradicated, winning the Little Cocks, cunts and Anus Ugly yet the battle and murder almost all big dicks and pussies Beautiful. Rest is only appropriate punishment for the Kloten to invent the worst and most evil where traitors. | ||
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Title image Amor Vincit Omnia (Caravaggio)
Of the three Renaissance masters, Leonardo da Vinci, Michelangelo Buonarroti and Raphael Santi (1483-1520), two are homosexual. Only Raphael loves women. When Leonardo is 24, he is already involved in a sodomy trial. A special commission is created in Florence, the Officers of the Night, which scatter collection boxes throughout the city where people can anonymously denounce each other of crimes "against nature;" mainly meaning the severe but during the Italian Renaissance widespread offence of sodomy. In the years that the Officers of the Night are active - between 1432 and 1502 - 17,000 people are accused and 3000 are convicted. So commonplace is this 'unnatural' act in Florence, that Germans adopted the slang term Florenzer, when they were talking about a homosexual man.
It is highly probable that many Florentines are falsely accused, but where there's smoke, there's fire, and Leonardo lands on the list of suspects. He is not convicted for lack of evidence. And after his trial Leonardo continues to entertain very intimate and lasting relationships with men, and one of his favourites is a certain Salaì, with whom he will be together for thirty years. Freud argues in his psychobiography, Leonardo da Vinci, A Memory of His Childhood that the Renaissance master lived chastely for most of his life, but he deduces from Leonardo's paintings and notebooks that he was a latent homosexual. A homosexual who did not out himself. In the closet, as they say today.
Leonardo's X Portfolio, his collection of erotic drawings, features one of the only hard-ons (Image) of the Renaissance, and extremely beautiful at that. Art historians assume that the said member belongs to the aforesaid Salaì, who was a bit of a Byron-type. When Leonardo lists his offences in one of his notebooks, he calls Salaì "a thief, a liar, stubborn, and a glutton." But beautiful he was, Vasari says of him that he was "a graceful and beautiful youth with curly hair."
Even more than about Leonardo, there is a consensus that Michelangelo was gay. Michelangelo's preference for the male nude is often explained - by historians who really ought to know better - by invoking the zeitgeist of the Renaissance, which idealizes the human body and especially the male body and elevates man to the measure of all things. But that is too much of a facile explanation for Michelangelo's artistic output. Not only does he give us the megalomaniac athletic statue of David, an gay icon if there ever was one, but he also fills the walls of the Sistine Chapel with nude male bodies, the so-called ignudi. If one looks at his Last Judgment in the Sistine Chapel, it is striking that there is almost no woman in sight, and the rare women who has are nonetheless featured, look more like female body-builders, with breasts that can hardly be called appetizing. The writer Aretino condemns the paintings and one pope even refuse to conduct mass in the building in what they call a repugnant 'bathhouse full of nude bodies', unworthy as a church to honour God.
For an intimate glimpse of Michelangelo's sexuality, we must seek the help of his sketches, drawings and prints. I show two 'erotic cartoons'[1], two preparatory sketches that Michelangelo makes for his pupil Tommaso dei Cavalieri, who despite the age difference - he is 23 when he meets the 57-year-old grandmaster - will become a faithful companion of Michelangelo until his death. These erotic cartoons depict the Rape of Ganymede[image] and The Punishment of Tityus image. Both prints depict predatory birds attacking young unbearded men, the elongated necks of the birds are unmistakable phallic symbols.
Later Renaissancist artists - often classified as Mannerist or early Baroque - Pontormo, Cellini (image), Bronzino (Portrait of Andrea Doria as Neptune), Caravaggio (Bacchus, Boy Bitten by a Lizard, Sleeping Cupid) are also more inclined to their own than to the other sex. All produce homo-erotic work and they are often self-proclaimed lovers of sodomy. Or should we say pederasty, the form of love and education between older men and young boys which has been since ancient times a most common practice, regaining popularity during the Renaissance? All of them are known for having homosexual relations, many of them with young boys.
Of course, being gay is not necessarily a prerequisite to enjoy the hard muscles of a beautiful male body, nor to paint it. That sexual identity does not always matter, is prove, by Agostino (1557-1602) and Annibale Carracci (1560-1609) with the two macho archetypes Pluto (Pluto) and Samson (Samson).
'Say ass, cock, cunt and screw' exclaimed Aretino at the beginning of the chapter on the Renaissance and that is exactly how the first libertine homosexuals felt. In a highly entertaining work, The Book of the Prick, written in the twenties of the sixteenth century by one Antonio Vignali (1501-1559), an older man (Arsiccio) explains a young boy (Sodo) that the latter is still very wet behind the ears and almost knows nothing of sexual matters. He is so ignorant that he does not even realize why "why the balls never go either into the cunt or the asshole." The young man replies that his "philosophy does not deal with cocks and assholes," but the older man insists . The boy soon feels a petty amateur in the matters of love, a domain in which the older man is clearly an éminence grise.
Where the older man is actually after - you felt that coming - is to land the young man in bed as quickly as possible. He starts his arguement with a defence of anal love by pointing out that the idea that anal intercourse is "against nature" is actually unknown to Nature herself. "If Mother Nature had not wanted that men sodomized each other, she would not have made the experience not so delightful, or at the very least she would have ensured that it was physically impossible ... but in reality we see the opposite, since the anus receives the penis as easily as the vagina. "
At this moment the young man begins to grasp it all, and being fertilized by the knowledge of the older man, it's time for him to literally inseminate with knowledge.
Machine translation
"I haven't told you anything. Sodo. But before I go to bed, while I still have the energy for rational discussion, since we have entered into these matters, I would like to tell you — if sleep does not prevent me — about things in this world that, as you admit, you have litde understood until now. Since I feel in the mood to talk, let's go to my house and go to bed together. And in that way, in bed, I will tell you some or all of the reasons that the balls stay outside the cunt. Those things that I can't tell you tonight we'll save for tomorrow morning."
The next morning he talks about why some cunts are better than others, why pussy farts can also make and why all cunts stink like shit. Not very Sstichtend, but all in a style modeled on the Socratic dialogues, which gives the material a certain respectability. The icing on the cake is a story-within-a-story that explains why the fuck should remain outside a sex act. The story is set in an imaginary senate, a key story for the then Italian politics of Siena, the city of the author. That imaginary senate consists Cocks, cunts, Anus and Kloten. The Cocks are best seen.
The fable is about a world where the big dicks and pussies Beautiful waving the stick and have dominion over the Little Cocks, cunts the Ugly, the Anus and Kloten, an allegorical representation of the world of alpha males and females. The big dicks have become so complacent that even the beautiful cunts get alienated from them. The others are planning a revolt to the tyrannical rule of the big dicks overthrow. They seek to mobilize support Kloten and the Anus. Although they first be willing to participate in the revolution, betrayed the Kloten, known for their cowardice, eventually the plot, leading to a massacre of the Little dicks, pussies and the Ugly Anus. Eventually, decimated but not eradicated, winning the Little Cocks, cunts and Anus Ugly yet the battle and murder almost all big dicks and pussies Beautiful. Rest is only appropriate punishment for the Kloten to invent the worst and most evil where traitors.
There is then a lot afgespeecht in the Senate on a worthy punishment for Kloten. A Big Cock, Cazzatello, took the floor. He is a very honest, wise and temperate cock and speaks to the crowd in a peaceful and harmonious tone. He talks about justice and the importance of a stable policy that must prevail over chaos. His speech misses its effect, especially on the Anus, they "sighed full of pity for the beautiful and tender words that she had listened with open mouth - it seemed as if the wind was ontvloten them." A similar description of the reaction of the anus and the pussies Cazzatello follows when the league together with the genitals condemns. It elicited a strong shudder at the Anus and the crunching of the lips at the cunts. "
Finally, common sense gets the upper hand again and is restored tranquility to the victorious Cocks, cunts, and Anus by a penalty method for the unreliable Kloten. They are forever condemned to the role of idle spectators of the sexual act, and for good access to and Anus Cunt denied.
Original
De volgende ochtend heeft hij het over waarom sommige kutten mooier zijn dan andere, waarom kutten ook scheten kunnen laten en waarom alle kutten stinken naar stront. Niet erg Sstichtend, maar dit alles in een stijl gemodelleerd op de Socratische dialogen die het materiaal een zekere respectabiliteit verleent. De kers op de taart is een verhaal-in-het-verhaal dat verklaart waarom de kloten buiten moeten blijven bij een geslachtsdaad. Het verhaal speelt zich af in een ingebeelde senaat, een sleutelverhaal voor de toenmalige Italiaanse politiek van Siena, de stad van de auteur. Die imaginaire senaat bestaat uit Pikken, Kutten, Anussen en Kloten. De Pikken zijn het best gezien.
De fabel handelt over een wereld waarin de Grote Pikken en de Mooie Kutten de plak zwaaien en heersen over de Kleine Pikken, de Lelijke Kutten, de Anussen en de Kloten, een allegorische voorstelling van de wereld van de alfamannen en -vrouwen. De Grote Pikken zijn zo zelfgenoegzaam geworden dat zelfs de Mooie Kutten van hen vervreemd geraken. De anderen plannen een opstand om het tyrannieke bewind van de Grote Pikken omver te werpen. Ze zoeken daarvoor steun bij de Kloten en de Anussen. Hoewel ze eerst bereid zijn om deel te nemen aan de revolutie, verraden de Kloten, die bekendstaan om hun lafhartigheid, uiteindelijk het complot, wat leidt tot een slachtpartij van de Kleine Pikken, de Lelijke Kutten en de Anussen. Uiteindelijk, gedecimeerd maar nog niet uitgeroeid, winnen de Kleine Pikken, Lelijke Kutten en Anussen toch de strijd en vermoorden nagenoeg alle Grote Pikken en Mooie Kutten. Rest er alleen nog een passende straf voor de Kloten te verzinnen, de slechtste en voorwaar kwaadaardigste verraders.
Er wordt vervolgens heel wat afgespeecht in de senaat over een waardige straf voor de Kloten. Eén Grote Pik, Cazzatello, neemt het woord. Hij is een heel eerlijke, wijze en gematigde pik en spreekt de menigte toe op een rustgevende en harmonieuze toon. Hij heeft het over gerechtigheid en het belang van een stabiel beleid dat moet primeren op chaos. Zijn toespraak mist zijn uitwerking niet, vooral op de Anussen, zij ‘zuchtten vol deernis om de mooie en tedere woorden waar zij met open mond naar geluisterd hadden – het leek wel of de wind hen ontvloten was.’ Een gelijkaardige beschrijving van de reactie van de Anussen en de Kutten volgt wanneer Cazzatello het samenheulen van de genitaliën veroordeelt. Het ontlokte een ‘sterke huivering bij de Anussen en het knarsen van de lippen bij de Kutten.’
Ten slotte krijgt het gezond verstand weer de bovenhand en is de kalmte hersteld bij de zegevierende Pikken, Kutten en Anussen door middel van een wijze straf voor de onbetrouwbare Kloten. Zij worden voor eeuwig veroordeeld tot de rol van nutteloze toeschouwers van de geslachtelijke daad en worden voorgoed de toegang tot Kut én Anus ontzegd.
