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THE LORDS AND THE NEW CREATURES


POEMS


Jim Morrison



CONTENTS


I

THE LORDS

Notes on Vision

Page 9



II

THE NEW CREATURES

Page 91



THE LORDS

NOTES ON VISION




# # #


Look where we worship.




# # #


We all live in the city.

The city forms - often physically, but inevitably
psychically - a circle. A Game. A ring of death
with sex at its center. Drive toward outskirts
of city suburbs. At the edge discover zones of
sophisticated vice and boredom, child prosti-
tution. But in the grimy ring immediately surround-
ing the daylight business district exists the only
read crowd life of our mound, the only street
life, night life. Diseased specimens in dollar
hotels, low boarding houses,bars, pawn shops,
burlesques and brothels, in dying arcades which
never die, in streets and streets of all-night
cinemas.




# # #


When play dies it becomes the Game.

When sex dies it becomes Climax.


# # #


All games contain the idea of death.



# # #


Baths, bars, the indoor pool. Our injured leader
prone on the sweating tile. Chlorine on his breath
and in his long hair. Lithe, although crippled,
body of a middle-weight contender. Near him
the trusted journalist, confidant. He liked men
near him with a large sense of life. But most
of the press were vultures descending on the
scene for curious America aplomb. Cameras
inside the coffin interviewing worms.


# # #


It takes large murder to turn rocks in the shade
and expose strange worms beneath. The lives of
our discontented madmen are revealed.

# # #

Camera, as all-seeing god, satisfies our longing
for omniscience. To spy on others from this
height and angle: pedestrians pass in and out of
our lens like rare aquatic insects.

Yoga powers. To make oneself invisible or small.
To become gigantic and reach to the farthest things.
To change the course of nature. To place oneself
anywhere in space or time. To summon the dead.
To exalt senses and perceive inaccessible images,
of events on other worlds, in one's deepest inner
mind, or in the minds of others.

The sniper's rifle is an extension of his eye. He
kills with injurious vision.



# # #


The assassin (?), in flight, gravitated with
unconscious, instinctual insect ease, moth-
like, toward a zone of safety, haven form the
swarming streets. Quickly, he was devoured
in the warm, dark, silent man of the physical
theater.


# # #


Modern circles of Hell: Oswald (?) kills President.
Oswald enters taxi. Oswald stops at rooming house.
Oswald leaves taxi. Oswald kills Officer Tippitt.
Oswald sheds jacket. Oswald is captured.

He escaped into a movie house.

# # #


In the womb we are blind cave fish.

# # #


Everything is vague and dizzy. The skin swells and
there is no more distinction between parts of the
body. An encroaching sound of threatening,
mocking, monotonous voices. This is fear and
attraction of being swallowed.


# # #


Inside the dream, button sleep around your body

like a glove. Free now of space and time. Free
to dissolve in streaming summer.


# # #


Sleep is under-ocean dipped into each night.

At morning, awake dripping, eyes
stinging.

# # #


The eye looks vulgar

Inside its ugly shell.
Come out in the open
In all of your Brilliance.
# # #


Nothing. The air outside

burns my eyes.
I'll pull them out
and get rid of the burning.


# # #


Crisp hot whiteness

City Noon
Occupants of plague zone
are consumed.

(Santa Ana's are winds off deserts.)

Rip up grating and splash in gutters.
The search for water, moisture,
"wetness" of the actor, lover.


# # #


"Players" - the child, the actor, and the gambler.

The idea of chance is absent from the world of the
child and primitive. The gambler also feels in
service of an alien power. Chance is a survival
of religion in the modern city, as is theater,
more often cinema, the religion of possession.


# # #


What sacrifice, at what price can the city be born?



# # #


There are no linger "dancer", the possessed.

The cleavage of men into actor and spectators
is the central fact of our time. We are obsessed
with heroes who live for us and whom we punish.
If all the radios and televisions were deprived
of their sources of power, all books and paintings
burned tomorrow, all shows and cinemas closed,
all the arts of vicarious existence...

We are content with the "given" in sensation's
quest. We have been metamorphosised from a mad
body dancing on hillsides to a pair of eyes
staring in the dark.


# # #


Not one of the prisoners regained sexual balance

Depressions, impotency, sleeplessness ... erotic
dispersion in languages, reading, games, music,
and gymnastics.

The prisoners built their own theater which
testified to an incredible surfeit of leisure.
A young sailor, forced into female roles, soon
became the "town" darling, for by this time they
called themselves a town, and elected a mayor,
police, aldermen.


# # #


In old Russia, the Czar, each year, granted-

out of the shrewdness of his own soul or one of
his advisors'- a week's freedom for one convict
in each of his prisons. The choice was left to the
prisoners themselves and it was determined in
several ways. Sometimes by vote, sometimes by lot,
often by force. If was apparent that the chosen
must be a man of magic, virility, experience,
perhaps narrative skill, a man of possibility, in
short, a hero. Impossible situation at the
moment of freedom, impossible selection,
defining our world in its percussions.


# # #


A room moves over a landscape, uprooting the mind,

astonishing vision. A gray film melts off the
eyes, and runs down the cheeks. Farewell.

Modern life is a journey by car. The Passengers
change terribly in their reeking seats, or roam
from car to car, subject to unceasing transformation.
Inevitable progress is made toward the beginning
(there is no difference in terminals), as we
slice through cities, whose ripped backsides present
a moving picture of windows, signs, streets,
buildings. Sometimes other vessels, closed
worlds, vacuums, travel along beside to move
ahead or fall utterly behind.

# # #


Destroy roofs, walls, see in all the rooms at once.


From the air we trapped goods, with the goods'
omniscient gaze, but without power to be
inside minds and cities as they fly above.


# # #


June 30th. On the sun roof. He woke up suddenly.

At that instant a jet from the air base crawled
in silence overhead. On the beach, children try
to leap into its swift shadow.


# # #


The bird or insect that stumbles into a room

and cannot find the window. Because they know
no "windows".

Wasps, poised in the window,
Excellent dancers,
detached, are not inclined
into our chamber.

Room of withering mesh
read love's vocabulary
in the green lamp
of tumescent flesh.

# # #


When men conceived buildings,

and closed themselves in chambers,
fist trees and caves.

(Windows work two ways,
mirrors one way.)

You never walk through mirrors
or swim through windows.

# # #


Cure blindness with a whore's spittle.




# # #


In Rome, prostitutes were exhibited on roofs

above the public highways for the dubious
hygiene of loose tides of men whose potential
lust endangered the fragile order of power.
It is even reported that patrician ladies, masked
and naked, sometimes offered themselves up to
these deprived eyes for private excitements of
their own.


# # #


The voyeur is masturbator, the mirror his badge,

the window his prey.


# # #


Urge to come to terms with the "Outside", by

absorbing, interiorizing it. I won't come out,
you must come in to me. Into my womb-garden
where I peer out. Where I can construct a universe
within the skull, to rival the real.

# # #


She said, "Your eyes are always black." The pupil

opens to seize the object of vision.

# # #


Imagery is born of loss. Loss of the "friendly

expanses." The breast is removed and the face
imposes its cold, curious, forceful, and inscrutable
presence.

# # #


You may enjoy life from afar. You may look at
things but not taste them. You may caress
the mother only with the eyes.

# # #


You cannot touch these phantoms.

# # #



French Deck. Solitary stroker of cards. He
dealt himself a hand. Turn stills of the past in
unending permutations, shuffle and begin. Sort
the images again. And sort them again This
game reveals germs of truth, and death.

The world becomes an apparently infinite, yet
possibly finite, card game. Image combinations,
permutations, comprise the world game.




###

A mild possession, devoid of risk, at bottom
sterile. With an image there is no attendant
danger.



###
Muybridge derived his animal subjects from the
Philadelphia Zoological Garden, male performers
from the University. The women were professional
artists, models, also actresses and dancers,
parading nude before the 48 cameras.

###
Films are collections of dead pictures which are
given artificial insemination.
###

Film spectators are quiet vampires.

###
Cinema is most totalitarian of the arts. All
energy and sensation is sucked up into the skull,
a cerebral erection, skull bloated with blood.
Caligula wished a single neck for all his subjects
that he could behead a kingdom with one blow.
Cinema is this transforming agent. The body
exists for the snake of the eyes; it becomes a
dry stalk to support these two soft insatiable
jewels.






Film confers a kind of spurious eternity.
###

Each film depends upon all the others and drives
you on to others. Cinema was a novelty, a scientif-
ic toy, until a sufficient body of works had been
amassed, enough to create an intermittent other
world , a powerful, infinite mythology to be dipped
into at will.

Films have an illusion of timelessness fostered
by their regular, indomitable appearance.

###

The appeal of cinema lies in the fear of death.

###

The modern East creates the greatest body of films.
Cinema is new form of an ancient tradition - the
shadow play. Even their theater is an imitation
of it. Born in India or China, the shadow show
was aligned with religious ritual, linked with
celebrations which centered around cremation of the
dead.

###

It is wrong to assume, as some have done, that
cinema belongs to women. Cinema is created by
men for the consolation of men.

###

The shadow plays originally were restricted to
male audiences. Men could view these dream shows
from either side of the screen. When women later
began to be admitted, the were allowed to attend
only to shadows.


###

Male genitals are small faces
forming trinities of thieves
and Christs
Fathers, sons, and ghosts.

A nose hangs over a wall
and two half eyes, sad eyes,
mute and handless, multiply
an endless round of victories.

These dry and secret triumphs, fought
in stalls and stamped in prisons,
glorify our walls
and scorch our vision.

A horror of empty spaces
propagates this seal on private places.


###

Kynaston's Bride
may not appear
but the odor of her flesh
is never very far.

###

A drunken crowd knocked over the apparatus,
and Mayhew's showmen, exhibiting at Islington
Green, burned up, with his mate, inside.

###

In the seance, the shaman led.
a sensuous panic, deliberately evoked
through drugs, chants, dancing, hurls
the shaman into trance. Changed voice,
convulsive movement. He acts like a
madman. these professional hysterics,
chosen precisely for their psychotic
leaning, were once esteemed.They
mediated between man and
spirit-world. Their mental
travels formed the crux of the
religious life of the tribe.

###


Principle of seance: to cure illness.
A mood might over take a people
burdened by historical events
or dying in a bad landscape. They
seek deliverance from doom. death,
dread.
Seek possession, the visit of
gods and powers, a rewinning of
the life source from demon
possessors. The cure is culled
from ecstasy. Cure illness or prevent
its visit, revive the sick, and
regain stolen, soul.

###

It is wrong to assume that art
needs the spectator in order to be.
The film runs on without any
eyes. The spectator cannot exist
without it. It insures his existence.

###

The happening / the event in which
ether is introduced into a roomful
of people through air vents makes
the chemical an actor. Its agent,
or injector, is an artist-showmen
who creates a performance to
witness himself. The people consider
themselves audience, while they
perform for each other, and the
gas acts out poems of its own
through the medium of the human
body. This approaches the realm of
the Game and its infinite permutations

The aim of the happening is to cure
boredom, wash the eyes, make
childlike reconnections with the
stream of life. Its lowest, widest
aim is for purgation of perception.
The happening attempts to engage
all the senses the total
organism, and achieve total
response in the face of traditional
arts which focus on narrower inlets
of sensation.

###

Multimedias are invariably sad comedies.
They work as a kind of colorful
group therapy, a woeful mating of
actors and viewers, a mutual
semimasturbation The performers
seem to need their audience and
the spectators-the spectators would
find these same mild titillations
in a freak show or Fun Fair and
fancier, more complete amusements
in a Mexican cathouse.

###


Novices, we watch the moves of
silkworms who excite their bodies
in moist leaves and weave wet
nests of hair and skin.

This is a model of our liquid
resting world dissolving bone and
melting marrow opening pores as
wide as windows.

###

The "stranger" was sensed as greatest
menace in ancient communities.


###

Metamorphose. An object is cut
off from its name , habits, associations.
Detached, it becomes only the thing,
in and of itself. When this disintegration
into pyre existence is at last
achieved, the object is free to become
endlessly anything.

###


The subject says "i see first
lots of things which dance... then
everything becomes gradually
connected".


###

Object as they exist in time the
clean eye and camera give us.
Not falsified by "seeing".

###

When there ore as yet no objects.

###

Early film makers, who-like the
alchemists-delighted in a willful
obscurity about their craft, in order
to withhold their skills profane
on lookers.



Separate, purify, reunite. The formula
of Ars Magna, and its heir, the cinema.

The camera is androgynous machine,
a kind of mechanical hermaphrodite.


###

In his retort the alchemist repeats
the work of Nature.

###

Few would defend a small view of
Alchemy as "Mother of Chemistry",
and confuse its true goal
with those external metal arts.
Alchemy is an erotic science,
involved in buried aspects of
reality, aimed at purifying and
transforming all being and mother.
Not to suggest that material operations
are ever abandoned. The adept
holds to both the mystical and
physical work.

###

The alchemists detect in the sexual
activity of man a correspondence
with the world's creation, with the
growth of plants, and with mineral.
formations.When they see the union
of rain and earth, thy see it in an
erotic sense, as copulation. And
this extends to all natural realms
of mother. For they can picture love
off airs of chemicals and stars, a
romance of stones, or the fertility of fire.




###

Strange, fertile correspondences the
alchemists sensed in unlikely orders
of being. Between men and planets,
plants and gestures, words and weather.
These disturbing connections: an infant's
cry and the stroke of silk;
the whorl of an car and an appearance
of dogs in the yard; a woman's head
lowered in sleep and the morning
dance of cannibals; these are conjunctions
which transcend the sterile
signal of any "willed' montage.
These juxtapositions of objects, sounds,
actions, colors, weapons, wounds, and
odors shine in an unheard-of way,
impossible ways.


Film is nothing then not an
illumination of this chain of being
which makes a needle poised
in flesh call up explosions in
a foreign capital.

###

Cinema returns us to anima,
religion of matter, which gives
each thing its special divinity and
sees gods in all things and beings.

Cinema, heir of alchemy, last of
an erotic science.


###

Surround Emperor of Body.
Bali Bali dancers
Will not break my temple.

Explorers
Suck eyes into the head.

The rosy body cross
secret in flow
controls its flow.

Wrestlers
in body weights dance
and music, mimesis, body.

Swimmers
entertain embryo
sweet dangerous thrust flow.


###

The Lords. Events take place beyond
our knowledge or control. our lives
are lived for us. We can only try
to enslave others. But gradually,
special perceptions are being developed.
The idea of the "Lords"
is beginning to from in some minds.
We should enlist them into bands of
perceivers to tour the labyrinth
during their mysterious natural
appearances. The Lords have secret
entrances. and they know disguises.
But they give themselves
a way in minor ways. Too much
glint of light in the eye.
A wrong gesture. Too long and curious a glance.

The Lords appease us with
images. They give us books, concerts,
galleries, shows, cinemas.
Especially the cinemas. Through
art they confuse us and blind
us to our enslavement. Art adorns
our prison walls, keeps us silent
and diverted and indifferent.


###

Dull lions prone on a watery
beach. The universe kneels
at the swamp to curiously eye its
own raw postures of decay
in the mirror or human consciousness.

Absent and peopled mirror, absorbent,
passive to what ever visits
and retains its interest.

Door of passage to the other side,
the soul frees itself in stride

Turn mirrors to the wall
in the house of the new dead.







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