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Bing Site Web Enter search term: Search. Today's headlines Most Read Fury as tens of thousands of Britons are 'put at risk' by glitch that saw 16, new cases missed from Plan for 'harsher three-tier lockdowns': Leaked document reveals possible pub closures and ban on ALL social Want to stress less Forget mindfulness.

Turn off the telly. And tear up your 'to Queen praises 'trusted and reliable' news for providing 'vital' service during coronavirus pandemic Prince William reveals Prince George, seven, is like a 'caged animal' if he doesn't get to spend time Prince Charles travels to Kuwait to offer his condolences following the death of the country's ruler - after Police arrest two men on suspicion of rape and murder of doctor and her year-old daughter who were found Stop being mean to our hardy snowflakes!

Leading headteacher hails 'resilience' of young people in the face Walter Reed attending physician and multiple doctors criticize Trump for 'putting Secret Service agents' Walter Reed doctors praise Trump's recovery, reveal he was treated with steroid on Saturday after 'second Trump's chief of staff Mark Meadows holds his head in his hands outside Walter Reed after he infuriated the Was there damage to Trump's heart and liver?

Why would hospital release him so soon after taking Trump is mocked online for signing blank page in 'staged' photo-op to show he's 'relentlessly' working while Biden leads Trump by 14 points as three quarters of Americans say the president could have avoided Britain's former ambassador to the US Lord Darroch - who fell foul of Trump over leaked cables - says Long Covid could become a bigger public health issue than excess deaths, academic warns, as figures show Boris Johnson denies bungling coronavirus lockdowns as he says he hopes science will allow 'different So why do the rule-setters think Police shut down lockdown lock-in wedding party with 70 people crammed into West Midlands pub hours after it France sends in the army while rescue teams hunt for survivors in Italy as torrential rain and winds from In reality, paradise is not lost: it is elusive.

And any photo that seeks to capture it only puts it further out of reach. What shall we do with these images? Shall we take them in our arms? Shall we possess them?

No, even less so than a body of flesh and bone. And yet. What is a soul, if not the present moved by memory? A present that is extremely subjective.

The objective is to capture an instant that never existed, which we see where there is a void; to know the pure truth of each and every body.

This pure truth which the image shows us, which we want - and yet do not want - to see. And it happens, always, that the fantastical substitute turns out to induce greater dizziness than the genuine body.

Thus, the case of those nuns who enjoyed a mystical union, or the priests and monks who prayed to St Bonaventure because 'in defence of their bodies', it should be stated they ejaculated while praying.

The scene is bizarre to imagine but it is only an extension of that which everyone does with a partner, whoever that may be. A body that does not know how to fantasise is one that does not know pleasure.

In short, in order to be desirable, all flesh must take the form of representation by whatever means: painting, sculpture, photography, cinema or, of course and primarily lit- erature.

All manifestations are none but the imaginary or physical projection of a language, whether explicit or unconscious. This is why women, m all societies where they have long been reduced to physical functions and purely material tasks, have more difficulty m achieving pleasure than men.

If it were not the case, then birds would not have such beautiful plumage. The fact that mystics and artists have resorted to internal con- templation is only a matter of a degree of vision.

The vision of a man is desire the anticipation of the physiological projection that accompanies the peak of pleasure.

And it is this projection, this appeal to be thrown outside of oneself, which is prayer. This is the way of all deep contemplation, of seeing before causing to appear.

There are angels in light, in shapes, and we can chisel m order to set them free. There is no true photograph without conscious light, no true body on the paper unless carved by the look.

His glorious works arose in space; not to occupy it but to reveal it by penetrating it. The Greek word agalma. We do not exist in matter but in a revelation perpetually renewed, as much so for the being who is manifest in the statue as for the person who contemplates it.

An intense, jubilant exchange between the work and its specta- tor takes place, as between the artist and his model.

It is a mat- ter of seizing the moment of truth and throwing oneself into it. All at once a little of nature shows itself.

But the question of the veil of Isis. Every woman is an Isis within the concept of eternal femininity, a mystery from which men dream of lifting the veil and which every act of laying bare, paradoxically, makes all the more mysterious.

A singular remark. Without loving oneself, there is no possible preservation? And what is this love of self that implies desire 7 Desire to infinity Or to desire infinity A move- ment of the soul that implies lack of satisfaction, a condition of returning to desire, thus the pursuit of life.

As long as it returns, life goes on. As long as it remains unsatisfied, the war starts again: a circle of love, a vicious circle, a precious circle.

Thus it was 'fatal' that woman, the object of desire, became fatale. There is no human life without the femme fatale. There is no failure to satisfy without transferring guilt to the woman.

The Lord God called to the man and said to him. And He said, "Who told you that you were naked? And so it is. The man is naked, too. And he. His sudden nudity has become apparent to him.

The subject of his own gaze, he discovers that the emperor has no clothes. It is a violent shock, as violent as a vision; a revelation from another world, as compact and yet as surreal as a statue.

He immediately unburdens his nudity on his wife. The first pre- historic Venus figures, such as the giant red vulva of Gargas, were carved in rock and used as symbols.

Or carved as statu- ettes, from which a palaeontologist derived the idea that they could have served as sexual objects, visual aids for the solitary intasies of men.

Already, the statue of the goddess is not only a solid, fixed object but a manifestation of divinity, an ephemeral thing perpetuated by that exultation created when two worlds this one and the one beyond - meet, materialise suddenly and are reunited in a figure at once strange yet familiar.

This statue, this body, this image which we will never be able to embrace and which will never cease to dumbfound us.

This is why every body desired by man is both a woman and a divinity. And a repeated need became apparent for glimmering phe- nomena, which took the form, depending on the social circle, of attempts to contact the spirit world - with much turning of tables - or persistent apparitions of the Virgin.

The latter frequently announced her presence in the form of statuettes found miraculously one fine morning near a well or in the village church - and which people were quick to believe had come from Heaven.

The fair lady in her white veils was sure consolation for those in pain and inspired a good many dreams. Then came the century of Darkness.

The decline of our image of love would be a catastrophe as great as the collapse of our economic and political systems: it would be the end of our civilisation.

And according to Denis de Rougemont: All ideas of man are ideas of love'. To know how darkness is gaining hold inside yourself, look at the body you love to look at, since bodies are always open to be looked at, and ask yourself: what is beauty and what is a soul?

They were so exquisite in their natural lives that more than one god, and more than one man, dreamt of ravishing them.

Like Daphne, who was desired simultane- ously by the mortal Leucippus and the god Apollo personified. Before she was changed into a laurel following the unfortunate persistence of the sun god, the jealousy of the latter gave rise to a nude tableau of the most delightful and ferocious kind.

The handsome Leucippus took it upon himself to disguise himself as a young woman and join a charming group of mountain nymphs, so that he would be closer to his heart's desire.

Anxious to be rid of his rival, the god induced the young nymphs to go bath- ing nude together, in order to assure themselves that they were indeed among women.

As soon as they discovered the flagrant anomaly on the young man's body, these gracious virgins tore him to pieces. It is true that the name 'Daphne', even though her allure leaves nothing to the imagination, means 'bloodthirsty'.

A beautiful, naked woman and, even more so, a collection of naked women, arouse desire; yet this desire always contains a certain amount of anxiety.

There is the story of Melusine, a beautiful fairy woman who changed into a serpent from the waist down every Saturday. She had married Raymond of Poi- tou on condition that he never saw her naked on that particular day.

But, of course, the curiosity of her husband got the bet- ter of him in the end. If Melusine took refuge every week in that high tower, refusing all visitors, was it not because she was entertaining a lover?

And so, one day, despite his promise, he could not resist the temptation to go and spy on his wife. To the place where water gushes out.

He who does not drink from the source puts his life in danger. To soil the source would be to poison it and to drink the poison at the same time.

To desire to approach it and enjoy its waters by treachery, as did Leuoppus with Daphne. Raymond with Melusme and as does 'technol- ogy' with 'Nature', is to bring about a tragic end.

Thus also is the sense of the sin of Adam and Eve: not that they bit into the apple or any other of the fruits of the Garden, 'naturally', but i order to know and enjoy while transgressing the natural order.

This is both the greatness and the risk of the human condition. Nymphs and fairies are naked, forbidden women par excellence.

They are naked to the extent that they are direct apparitions of Nature, even if they are clothed.

Evolving around caves and springs, these amorous beauties spend their time in leisured pastimes, such as singing and magic - sometimes benevolent, often dangerous Why forbidden and why dangerous?

Because they are the incar- nation of feminine enjoyment, This mystery, this gap through which they escape from men. Without doubt, like the fish tails that adorned the sirens.

But this appendage that shuts them off from men. Could it not be the mortal sign of the self-satisfaction of a woman that dismissed male sexuality to the realm of useless objects; in other words, a sign of castration of man?

This is explicitly what is behind the tradition of excision. Sweet temptresses who used seduction to draw in their victims irrevocably to the bottom of the lake or river.

If fairies and nymphs are present across the whole planet, it must be because they exist. They exist universally in the collec- tive imagination of human beings, whatever their culture.

The word 'nymphs' designates the vulva's little lips, but also a chrysa- lis. Does man's fate not pass through these nymphs, among whom he came into the world and to where instinct ordains that he will return, to reproduce in his turn?

And are these fragile and secret doorways not the entrance to a mysterious laboratory, where life is transformed into life, in the same way that an insect retreats from the world to learn to become a butterfly?

And that is why the act of surprising a woman in her nakedness always inspires a frisson of sacrilege, as if to look is already a violation, thus threatening the observer with a major punishment.

As if the look itself could already be committing murder, as in the story of Melusine. But sacrilege fuels desire and the story repeats itself indefinitely, at least symbolically.

We should note that, as women move to gain the nght to look at men a nght they do not completely possess yet , comparable fascination and anxiety take hold of them at the sight of the virile body and they will have their own stories just as troubling and dangerous concerning male 'Melusmes'.

The writer of these words knows what she is talk- ing about! Do not be afraid, gentlemen, it may be very pleasant to play the woman a little as well sometimes.

Without taking anything away from you. This woman who attracts you with the risk of killing you. I am the bnde of Death, my only true great lover.

Only emaciated Death may fully love my flesh. There is no greater voluptuousness than in this tragi -comic, consented coupling, these monstrous nuptials, these scandalous pleasures by which I return to dust, mere dust; these currents of forbidden ecstasy by which I return to the primordial day from which I was drawn by the fingers of my first lover.

Death whom I love; they are all jealous of him. I say nothing; I do not speak of him. They sense that ; is to him I belong, that it is for him that I am full of life, that t is to him I offer the life which they hurl into me each time they love me.

They are jealous; they are betrayed; they know that Death finds me wildly attractive and that I deliver myself to him. He knew it.

He who. Since you love death, he thinks. I am the one who will give it to you. He knows well that woman loves death and not the crime, and rightly so.

To avenge himself of her infidelity, he kills her; he kills her with his look. The great ill of our civilisation is less a crime against life than a crime against death.

But assassination may sometimes be counted among the fine arts. The click of a cam- era shutter.

And again you kill her with your eyes; it is your unsatisfied desire that kills he Witches were burned because of their beauty.

Michelet tells us. Yes, because it is so difficult to enjoy one is Death. That's just how it is: 'all beauty must die Bluebeard does it by cutting their throats - one after the other before locking them away in his secret cupboard, in order to be able to continue with the spectacle of the dance of death in which they will no longer participate.

Why am I so alone? I come from an ancient time; I have crossed eternity alone and here it is again in front of me. My husband is big and strong: he has a blue beard that eats up his face.

Isn't that strange? Why am I married? Who me to him? I live in a castle with thick stone walls.

I put my head out through loopholes to see the vast sky and the golden plain, which undulates into the distance. I am alone with this forbidden key - why did he give it to me if it is forbidden?

In my memory they were flayed, denuded of their skin. Blue- denudes naked women. He hides his crime but keeps the proof, because he wants it to be discovered.

This veil, which conceals the profound being of all truth, causes the veil to appear as that which hides. The prohibition proclaims itself with a cry.

The sirens sang for those who did not want to hear them, but for those who understood, their song was a cry that propelled them into death, because it told of the forbidden.

The voice of the elements passes through the throats of strange women who sing in the straits of fascination.

What language passes through their throats? Woman is a phallus, thai is the story's final word; the story of fear and the fascination she exercises over men and women.

Otherwise, what wouW she be doing dancing in the arms of Death? Death without flesh uses woman like a substitute phal- lus; a custom-made phalus.

The clitoris is but the submerged part of a member of similar length and width as the male member, a part both cavernous and erectile which lines the vagina.

And so female pleasure is at least double, and doubly secret And so I am a man who is permanently penetrated. When you make love to me.

Man is afraid of woman because he is afraid of his homosexuality. Man is fascinated by woman because he is fascinated by his own sex.

Man desires woman because he wants to make love to all three: him. Man wants several women because he wants to forget that in making love to a woman, he is also doing it with another man.

Man despises woman and has his mind set on bringing her down because he wants to eliminate the rival he senses in her. The sex of a woman is a mirror to that of a man.

It is there where he wants it. The full posses- sion of oneself comes at the moment when, having arrived at the source, one accepts one's reflection and recognises oneself there.

Seeing the Self in the Other. Of course, this affair of the flesh, and its mechanics, is also and above all an affair of the spirit.

People doubted for a long time that a woman had a soul, or even that she had a spmt. The characteristic of man the human being is also to be a biped in his head: bypassing his biological destiny by means of his cultural choices, he moves on two legs, the masculine and the feminine.

If one or the other is amputated or injured, he limps. It has to be observed that both men and women have more or less always limped.

In one of the six tapestries evoking the initiatory course of the Lady and the Unicorn, the Lady holds a mirror to this unique figure with the phallic appendage.

The unicorn contemplates the mirror but. The unicorn sees himself in the Lady, while she reveals to him his image with grace and gentleness.

This signifies that the Lady peacefully accepts awareness of her own virility, with which she endows her mirror; while at the same time the phallic animal accepts with a smile the dual nature of the Lady.

Making an animal smile, and what is more, making a phallus smile: all the spirituality of the Middle Ages could not succeed in such an exploit.

But the device of the mirror goes further, just as the Lady is clothed - and richly clothed - the unicorn is naked.

A mon seul desw, where we her beginning to remove her jewellery before retiring to her pavilion.

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The woman, known as Evalion, caused outrage by calling Hitler a 'brilliant' and 'compassionate man and condemning Jewish people.

Her true identity isn't known but she is believed to be 18, living in Canada and well spoken. Evalion insists that the leader of the Nazis was a good man whilst also admitting to being a Holocaust denier.

The baby-faced blogger is openly anti-Semitic by opening her videos with lines such as 'Do you despise the Jews as much as I do' and 'Do you want to know how to spot a Jew.

Scroll down for video. Evalion caused outrage after she made Swastika cup cakes with birthday candles and sang happy birthday to a picture of Hitler.

She also holds contempt for feminists blaming them for the migrant crisis and singling out criticism for Labour MP Jess Phillips.

The banning of Evalion has sparked intense debate on social-media with some people outraged at YouTube's decision to censor her. Disturbingly Evalion had over 40, subscribers before she was exiled.

The baby-faced blogger is openly anti-Semitic by opening her videos with lines such as 'Do you despise the Jews as much as I do' and 'Do you want to know how to spot a Jew'.

However other people agreed with the Google owned video platform's decision. And Craig Ewen added: 'I think Evalion deserved it.

An official YouTube spokesperson said: 'That channel was terminated by us because it violated policies against hate speech. The banning of Evalion - who had over 40,00 subscribers - has sparked intense debate on social-media with some people outraged at YouTube's decision to censor her pictured when she was younger.

Argos AO. Share this article Share. Share or comment on this article: Youtuber Evalion is kicked off the site after sharing racist views e-mail 6.

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More top stories. Bing Site Web Enter search term: Search. Today's headlines Most Read Fury as tens of thousands of Britons are 'put at risk' by glitch that saw 16, new cases missed from Plan for 'harsher three-tier lockdowns': Leaked document reveals possible pub closures and ban on ALL social Want to stress less Forget mindfulness.

The hairy animal became 'as beautiful as a god' and his sacred prostitute, Ishtar-lnanna-Lilith. The man who was a beast was also an angel, but he had to undergo further teachings to be able to recognise the gods.

From woman comes man. What hair covers my vulva! Let us be happy: I am turning to the lap of my lover, generous and munificent! Dance, dance, all of you!

By Ba'u. A joyful exchange. This hair on the vulva is indeed the sign of the woman's humanity: neither the goddess, as a statue, nor the animal, will possess her.

The woman is the only female primate who has hair around her sexual organs. By means of love, the beast and the divine become woman, sporting the bush of their love.

Sharing the water in streams of satisfied desires: opening the doors of joy. The orgasm is the body's laugh, and a laughing soul is all rt takes to make one laugh.

Who is going to rediscover lost time like me. Like me. It is written in Thomas' Gospel: 'For where the beginning is, there will the end be.

Blessed is he who will take his place in the beginning: he will know the end and will not experience death'. A recurring theme in spiritual texts: paradise is paradise regained.

Taste life at the very point of its beginning in order not to taste death. The starving person may be greedy like an ogre, delicate like a cat lapping from its bowl, refined like the same animal crazily playing with a mouse.

The aim is to achieve one's desire stnpped bare to its extremities, which touch the sublime, the divine.

An angel appears to St Theresa of Avila and 'in his hands I saw a long golden arrow and at the end of the iron tip I seemed to see a point of fire.

With this he seemed to pierce my heart several times so that it penetrated to my entrails. When he drew it out, I thought he was drawing them out with it and he left me com- pletely afire with a great love for God.

The pain was so sharp that it made me utter several moans: and so excessive was the sweetness caused me by this intense pain that one could never wish to lose it.

No one would wish to lose this intensity and everyone would want to regain this ever-elusive ecstasy.

In reality, paradise is not lost: it is elusive. And any photo that seeks to capture it only puts it further out of reach. What shall we do with these images?

Shall we take them in our arms? Shall we possess them? No, even less so than a body of flesh and bone. And yet. What is a soul, if not the present moved by memory?

A present that is extremely subjective. The objective is to capture an instant that never existed, which we see where there is a void; to know the pure truth of each and every body.

This pure truth which the image shows us, which we want - and yet do not want - to see. And it happens, always, that the fantastical substitute turns out to induce greater dizziness than the genuine body.

Thus, the case of those nuns who enjoyed a mystical union, or the priests and monks who prayed to St Bonaventure because 'in defence of their bodies', it should be stated they ejaculated while praying.

The scene is bizarre to imagine but it is only an extension of that which everyone does with a partner, whoever that may be.

A body that does not know how to fantasise is one that does not know pleasure. In short, in order to be desirable, all flesh must take the form of representation by whatever means: painting, sculpture, photography, cinema or, of course and primarily lit- erature.

All manifestations are none but the imaginary or physical projection of a language, whether explicit or unconscious.

This is why women, m all societies where they have long been reduced to physical functions and purely material tasks, have more difficulty m achieving pleasure than men.

If it were not the case, then birds would not have such beautiful plumage. The fact that mystics and artists have resorted to internal con- templation is only a matter of a degree of vision.

The vision of a man is desire the anticipation of the physiological projection that accompanies the peak of pleasure. And it is this projection, this appeal to be thrown outside of oneself, which is prayer.

This is the way of all deep contemplation, of seeing before causing to appear. There are angels in light, in shapes, and we can chisel m order to set them free.

There is no true photograph without conscious light, no true body on the paper unless carved by the look. His glorious works arose in space; not to occupy it but to reveal it by penetrating it.

The Greek word agalma. We do not exist in matter but in a revelation perpetually renewed, as much so for the being who is manifest in the statue as for the person who contemplates it.

An intense, jubilant exchange between the work and its specta- tor takes place, as between the artist and his model. It is a mat- ter of seizing the moment of truth and throwing oneself into it.

All at once a little of nature shows itself. But the question of the veil of Isis. Every woman is an Isis within the concept of eternal femininity, a mystery from which men dream of lifting the veil and which every act of laying bare, paradoxically, makes all the more mysterious.

A singular remark. Without loving oneself, there is no possible preservation? And what is this love of self that implies desire 7 Desire to infinity Or to desire infinity A move- ment of the soul that implies lack of satisfaction, a condition of returning to desire, thus the pursuit of life.

As long as it returns, life goes on. As long as it remains unsatisfied, the war starts again: a circle of love, a vicious circle, a precious circle.

Thus it was 'fatal' that woman, the object of desire, became fatale. There is no human life without the femme fatale. There is no failure to satisfy without transferring guilt to the woman.

The Lord God called to the man and said to him. And He said, "Who told you that you were naked? And so it is. The man is naked, too.

And he. His sudden nudity has become apparent to him. The subject of his own gaze, he discovers that the emperor has no clothes.

It is a violent shock, as violent as a vision; a revelation from another world, as compact and yet as surreal as a statue.

He immediately unburdens his nudity on his wife. The first pre- historic Venus figures, such as the giant red vulva of Gargas, were carved in rock and used as symbols.

Or carved as statu- ettes, from which a palaeontologist derived the idea that they could have served as sexual objects, visual aids for the solitary intasies of men.

Already, the statue of the goddess is not only a solid, fixed object but a manifestation of divinity, an ephemeral thing perpetuated by that exultation created when two worlds this one and the one beyond - meet, materialise suddenly and are reunited in a figure at once strange yet familiar.

This statue, this body, this image which we will never be able to embrace and which will never cease to dumbfound us.

This is why every body desired by man is both a woman and a divinity. And a repeated need became apparent for glimmering phe- nomena, which took the form, depending on the social circle, of attempts to contact the spirit world - with much turning of tables - or persistent apparitions of the Virgin.

The latter frequently announced her presence in the form of statuettes found miraculously one fine morning near a well or in the village church - and which people were quick to believe had come from Heaven.

The fair lady in her white veils was sure consolation for those in pain and inspired a good many dreams.

Then came the century of Darkness. The decline of our image of love would be a catastrophe as great as the collapse of our economic and political systems: it would be the end of our civilisation.

And according to Denis de Rougemont: All ideas of man are ideas of love'. To know how darkness is gaining hold inside yourself, look at the body you love to look at, since bodies are always open to be looked at, and ask yourself: what is beauty and what is a soul?

They were so exquisite in their natural lives that more than one god, and more than one man, dreamt of ravishing them. Like Daphne, who was desired simultane- ously by the mortal Leucippus and the god Apollo personified.

Before she was changed into a laurel following the unfortunate persistence of the sun god, the jealousy of the latter gave rise to a nude tableau of the most delightful and ferocious kind.

The handsome Leucippus took it upon himself to disguise himself as a young woman and join a charming group of mountain nymphs, so that he would be closer to his heart's desire.

Anxious to be rid of his rival, the god induced the young nymphs to go bath- ing nude together, in order to assure themselves that they were indeed among women.

As soon as they discovered the flagrant anomaly on the young man's body, these gracious virgins tore him to pieces.

It is true that the name 'Daphne', even though her allure leaves nothing to the imagination, means 'bloodthirsty'. A beautiful, naked woman and, even more so, a collection of naked women, arouse desire; yet this desire always contains a certain amount of anxiety.

There is the story of Melusine, a beautiful fairy woman who changed into a serpent from the waist down every Saturday. She had married Raymond of Poi- tou on condition that he never saw her naked on that particular day.

But, of course, the curiosity of her husband got the bet- ter of him in the end. If Melusine took refuge every week in that high tower, refusing all visitors, was it not because she was entertaining a lover?

And so, one day, despite his promise, he could not resist the temptation to go and spy on his wife. To the place where water gushes out.

He who does not drink from the source puts his life in danger. To soil the source would be to poison it and to drink the poison at the same time.

To desire to approach it and enjoy its waters by treachery, as did Leuoppus with Daphne. Raymond with Melusme and as does 'technol- ogy' with 'Nature', is to bring about a tragic end.

Thus also is the sense of the sin of Adam and Eve: not that they bit into the apple or any other of the fruits of the Garden, 'naturally', but i order to know and enjoy while transgressing the natural order.

This is both the greatness and the risk of the human condition. Nymphs and fairies are naked, forbidden women par excellence.

They are naked to the extent that they are direct apparitions of Nature, even if they are clothed. Evolving around caves and springs, these amorous beauties spend their time in leisured pastimes, such as singing and magic - sometimes benevolent, often dangerous Why forbidden and why dangerous?

Because they are the incar- nation of feminine enjoyment, This mystery, this gap through which they escape from men.

Without doubt, like the fish tails that adorned the sirens. But this appendage that shuts them off from men. Could it not be the mortal sign of the self-satisfaction of a woman that dismissed male sexuality to the realm of useless objects; in other words, a sign of castration of man?

This is explicitly what is behind the tradition of excision. Sweet temptresses who used seduction to draw in their victims irrevocably to the bottom of the lake or river.

If fairies and nymphs are present across the whole planet, it must be because they exist. They exist universally in the collec- tive imagination of human beings, whatever their culture.

The word 'nymphs' designates the vulva's little lips, but also a chrysa- lis. Does man's fate not pass through these nymphs, among whom he came into the world and to where instinct ordains that he will return, to reproduce in his turn?

And are these fragile and secret doorways not the entrance to a mysterious laboratory, where life is transformed into life, in the same way that an insect retreats from the world to learn to become a butterfly?

And that is why the act of surprising a woman in her nakedness always inspires a frisson of sacrilege, as if to look is already a violation, thus threatening the observer with a major punishment.

As if the look itself could already be committing murder, as in the story of Melusine. But sacrilege fuels desire and the story repeats itself indefinitely, at least symbolically.

We should note that, as women move to gain the nght to look at men a nght they do not completely possess yet , comparable fascination and anxiety take hold of them at the sight of the virile body and they will have their own stories just as troubling and dangerous concerning male 'Melusmes'.

The writer of these words knows what she is talk- ing about! Do not be afraid, gentlemen, it may be very pleasant to play the woman a little as well sometimes.

Without taking anything away from you. This woman who attracts you with the risk of killing you. I am the bnde of Death, my only true great lover.

Only emaciated Death may fully love my flesh. There is no greater voluptuousness than in this tragi -comic, consented coupling, these monstrous nuptials, these scandalous pleasures by which I return to dust, mere dust; these currents of forbidden ecstasy by which I return to the primordial day from which I was drawn by the fingers of my first lover.

Death whom I love; they are all jealous of him. I say nothing; I do not speak of him. They sense that ; is to him I belong, that it is for him that I am full of life, that t is to him I offer the life which they hurl into me each time they love me.

They are jealous; they are betrayed; they know that Death finds me wildly attractive and that I deliver myself to him.

He knew it. He who. Since you love death, he thinks. I am the one who will give it to you. He knows well that woman loves death and not the crime, and rightly so.

To avenge himself of her infidelity, he kills her; he kills her with his look. The great ill of our civilisation is less a crime against life than a crime against death.

But assassination may sometimes be counted among the fine arts. The click of a cam- era shutter. And again you kill her with your eyes; it is your unsatisfied desire that kills he Witches were burned because of their beauty.

Michelet tells us. Yes, because it is so difficult to enjoy one is Death. That's just how it is: 'all beauty must die Bluebeard does it by cutting their throats - one after the other before locking them away in his secret cupboard, in order to be able to continue with the spectacle of the dance of death in which they will no longer participate.

Why am I so alone? I come from an ancient time; I have crossed eternity alone and here it is again in front of me.

My husband is big and strong: he has a blue beard that eats up his face. Isn't that strange? Why am I married?

Who me to him? I live in a castle with thick stone walls. I put my head out through loopholes to see the vast sky and the golden plain, which undulates into the distance.

I am alone with this forbidden key - why did he give it to me if it is forbidden? In my memory they were flayed, denuded of their skin.

Blue- denudes naked women. He hides his crime but keeps the proof, because he wants it to be discovered. This veil, which conceals the profound being of all truth, causes the veil to appear as that which hides.

The prohibition proclaims itself with a cry. The sirens sang for those who did not want to hear them, but for those who understood, their song was a cry that propelled them into death, because it told of the forbidden.

The voice of the elements passes through the throats of strange women who sing in the straits of fascination. What language passes through their throats?

Woman is a phallus, thai is the story's final word; the story of fear and the fascination she exercises over men and women.

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