What happened was a true gale or, as they say, a “cyclogenesis”, which made everything in the garden, fly without order. This wind not only disordered the things, but also it mixed the wisdom with the blood, the flesh of the inert with that of the latent, creating detailed beings
never imagined before…
The girl who worked the family garden did not want to leave this opportunity behind to change the way to become less visible to men, so she had been working for years under the decreasing effects of lunar wanings and the guides of interplanetary notes, in a bacteriological mixture with genome of Chrysopidae, which would make it transform into something that I always desire/wish, something that would make it go unnoticed in front of the the face of disagreement for the fine detail and bad habits of the inhabitants of its environment; she became a kind of insect that she herself defined in her tests/proofs as “the gardener”… A “minoinsect” has born!!! , Cronos would be very happy how he took advantage of his time.
The problem was that the concoction was also drunk by its owner and made her an ant with “chongo”.
In that divine form, the strange and misunderstood, she, realized the added violence that the human being exerted, with his blindness and ignorance, over the spaces and times, of the essential things and not so “big” that this species of two legs cannot appreciate at first glance.
He thought that man lived in an automaton situation without a moment for meditation and observation.
Nobody realized that something so beautiful and so strange was right there, nobody realized its existence in such a fast world, but that is one of the intentions of beauty to pass as a flying seed, from this moment when she changed the direction of its shape, the world is something that can only be explained diagonally and its perspectives are infinite. Thank you insect woman.
I add some sections of a text that did my delight
It is worth more – Haraban Maur says – A beautiful soul in a deformed body than an ugly soul in a beautiful body. By the principle of aesthetic decorum, the beauty, as Isidoro says, should only manifest itself in a beautiful way and the false in a repulsive way.
But it is not like that. It is a pity that these harmony poets put their talents at the service of a misconception. “Sicut cujus est pulchrum corpus et deformis est animus, magis est dolendus quam si deformed haberet corpus, ita qui eloquenter falsa dicunt, magis miserandi, quam si talia defomiter dicerent” [Just as one who has a beautiful body and an ugly soul should regret more than if he had a deformed body, so those who, full of eloquence, say false things, must be more worthy of compassion than if they said such things without grace].
From Isidore’s and Haraban’s texts it follows that pleasure has the same relation to the content as to the form: the joys that come from assimilating a beautiful content are superior to the vainest delights of a beautiful expression. Haraban demands, once again in the name of “decency”, that the verbal form of the discourse be submitted to the authenticity of thought: the words must not impose themselves, not move and not please themselves, they must be put at the service of the truth: “Idque verbis oratoragat ut veritas pateat, placeat, moveat” [the orator with his words must try to it, that the truth is done. Obvious, please and move]. If it is necessary to choose between the pleasures we must, again, prefer, without a doubt, the spiritual and intimate beauty of the content to the superficial graces of the form.
In the 10th century!! This is how Roberto de Melum reminds us. Although their approaches are highly successful, they adhere to the traditional: “The truth of the content does not need external decorations to appear beautiful or more beautiful than it really is. Its simple beauty is self-imposed and self-sufficient. Let us not follow the example of those who care more about appearance than truth, of those who strive much more to please than to be useful, of those who prefer to feed their hatred to nourish their hearts”.
The same attitude towards music, in which everything is summarized in the so often quotted words by Saint Jerome. When someone sings what they should like, it is, above all, the meaning of what they say and not the timbre of their voice: “non vox canentis sed verba placeant” [words should be liked and not the voice of the person singing].
– Excerpts from “The aesthetics of the Middle Ages” (Edgar de Bruyne)
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