'I am alone,' said Orlando, aloud since there was no one to hear.
Autor: seedkeeper | Publicado: 2009-08-02T21:59:00+02:00

"That silence is more profound after noise still wants the confirmation ofscience. But that loneliness is more apparent directly after one has beenmade love to, many women would take their oath. As the sound of theArchduke's chariot wheels died away, Orlando felt drawing further fromher and further from her an Archduke (she did not mind that), a fortune(she did not mind that), a title (she did not mind that), the safety andcircumstance of married life (she did not mind that), but life she heardgoing from her, and a lover. 'Life and a lover,' she murmured; and goingto her writing-table she dipped her pen in the ink and wrote:"Orlando, Virgini Woolf(uhu, nao tive q digitar tudo pq o livro existe online, aqui)Assisti o Diabo Veste Prada no aviao, e achei o final muito estranho. Nada contra um final que meio q da tudo errado (eu fiquei com bastante peninha do bichinha) mas pelo q eu senti então a protagonista vai se mudar pra outro canto pela carreira do namorado, e lá ele vai trabalhar ate altas horas e tudo mais, q nem ela qnd trabalhava na revista, basicamente apenas trocando de papeis, e sendo aceitável, não só porque agora é o namorado tendo uma carreira, mas tmb como ninguém nunca se toca que a superficialidade de ambos os meios (culinária e moda) é idêntica. Nossas necessidades basicas são de se alimentar e de nos vestir/aquecer, e por sermos humanos criamos uma cultura de prazer em volta disso, para experimentarmos coisas gostosas e vestimo coisas bonitas.Acho que a unica coisa que se pode dizer a favor da culinaria nisso, eh q existe uma diferenca obvia entre comer saudavel ou nao. Mas acho que ateh aih ninguem nega que a nossa vida fica melhor quando nos vestimos do modo que desejamos, soh nao eh tao facil de provar cientificamente. Gostei de como o filme mostra bem os dois lados da moda, da paixão muito real das pessoas que trabalham com isso, e não ter feito nenhum personagem ultra superficial tipo o estereotipo que fazemos das pessoas que se importam com moda (e me inclua nesse grupo).Agora soh pq tah facil "quotar" do Orlando, uma outra parte que se encaixa bem nesse papo de moda:"And as she drove, we may seize the opportunity, since the landscape wasof a simple English kind which needs no description, to draw the reader'sattention more particularly than we could at the moment to one or tworemarks which have slipped in here and there in the course of thenarrative. For example, it may have been observed that Orlando hid hermanuscripts when interrupted. Next, that she looked long and intently inthe glass; and now, as she drove to London, one might notice her startingand suppressing a cry when the horses galloped faster than she liked. Hermodesty as to her writing, her vanity as to her person, her fears for hersafety all seems to hint that what was said a short time ago about therebeing no change in Orlando the man and Orlando the woman, was ceasing tobe altogether true. She was becoming a little more modest, as women are,of her brains, and a little more vain, as women are, of her person.Certain susceptibilities were asserting themselves, and others werediminishing. The change of clothes had, some philosophers will say, muchto do with it. Vain trifles as they seem, clothes have, they say, moreimportant offices than merely to keep us warm. They change our view ofthe world and the world's view of us. For example, when Captain Bartolussaw Orlando's skirt, he had an awning stretched for her immediately,pressed her to take another slice of beef, and invited her to go ashorewith him in the long-boat. These compliments would certainly not havebeen paid her had her skirts, instead of flowing, been cut tight to herlegs in the fashion of breeches. And when we are paid compliments, itbehoves us to make some return. Orlando curtseyed; she complied; sheflattered the good man's humours as she would not have done had his neatbreeches been a woman's skirts, and his braided coat a woman's satinbodice. Thus, there is much to support the view that it is clothes thatwear us and not we them; we may make them take the mould of arm orbreast, but they mould our hearts, our brains, our tongues to theirliking. So, having now worn skirts for a considerable time, a certainchange was visible in Orlando, which is to be found if the reader willlook at @ above, even in her face. If we compare the picture of Orlandoas a man with that of Orlando as a woman we shall see that though bothare undoubtedly one and the same person, there are certain changes. Theman has his hand free to seize his sword, the woman must use hers to keepthe satins from slipping from her shoulders. The man looks the world fullin the face, as if it were made for his uses and fashioned to his liking.The woman takes a sidelong glance at it, full of subtlety, even ofsuspicion. Had they both worn the same clothes, it is possible that theiroutlook might have been the same.That is the view of some philosophers and wise ones, but on the whole, weincline to another. The difference between the sexes is, happily, one ofgreat profundity. Clothes are but a symbol of something hid deep beneath.It was a change in Orlando herself that dictated her choice of a woman'sdress and of a woman's sex. And perhaps in this she was only expressingrather more openly than usual--openness indeed was the soul of hernature--something that happens to most people without being thus plainlyexpressed. For here again, we come to a dilemma. Different though thesexes are, they intermix. In every human being a vacillation from one sexto the other takes place, and often it is only the clothes that keep themale or female likeness, while underneath the sex is the very opposite ofwhat it is above. Of the complications and confusions which thus resulteveryone has had experience; but here we leave the general question andnote only the odd effect it had in the particular case of Orlandoherself."