Friday, November 11, 2011

"Allism" an essay

This will be the last essay for some time, but I have worked out the section of my next book on Allism, and I think it’s doing okay, so far, though I will have to boil it down and micro-edit the thing. Pretty much here I am summarizing some of the general metaphors of Allism and putting them into place regarding the passion we each take in life. As usually, the essay evokes a thick constellation of ideas, and suggests a hidden theme, meant to arise as an epiphany in the reader. I hope you like it. For a while I will be writing the rest of my book, which will take many months before it is ready. As I said, I am aiming for February.

 

Take care, Caretakers!

 

 

Allism

 

 

            Writing is one way of many to achieve apotheosis. Writing as religion works for some, but another man would rather be a good Buddhist, or an excellent quantum mechanic, or whatever else. What one does with his life is according to his calling and gift, which are the give and take of the needs at his innermost.

                Our millennium began in terror. It ends in global unity. The vile sectarianism that rips this world with borders, races, creeds, religions, parties, tribes, and languages is also necessary, and thus part of Allism while yet Allism fully denies any one of them when it makes claims on the all. Your religion is the one true religion to you, and in a way believing so may help you, but at the level of the all, only Allism can speak, and no one religion is complete until it has found its place in the all alongside the others.

                Life is a Game. So is the next life. So are all lives. Yet life is other things too. Games train the mind; a challenging and exhausting game wins the day. Views on life give strategies to winning. To put a partial view on anything gives you emphasis. To put on a full view, to see as much at once as is humanly possible, requires adopting some metonymy to abbreviate a universe of infinite facts.

                Allism denies nothing, not even denial, only unlike any one perspective, it affirms all things in relation to the whole. A man at one layer is tribal and particular, sectarian and small-minded, and this is necessary, just as the cells in his neck think the body exists to make them happy; but if we meta another layer, we see the full perspective depends on many modes, many layers of consciousness, many ways of being. Blasphemy is the worship of an Allist, and loving the universe is the mirror of loving ourselves. We are particular, we are universal.

                Nothing simple negates itself. When one spoke, I was certain, when the next spoke, I doubted them both. The universe is perfect, and yet she grows, she suffers the evils of growing pains, and betters herself always. We her avatars share her being and her way.

                Every perspective denies some truths. Allism denies them at any given moment, but not permanently, knows that the many ways are one, that all is true, that amidst all eyes at all times, the truth is known. People often take life in part. Some part is left out, doesn't count, isn't really part of them, they weren't themselves at a bad moment, they take those words back, and other such talk. It’s all there, it’s all eternal. Allism takes life as a circle -- the universe is a circle-- every detail counts, and the good I experience depends on the bad I experienced, and nothing can be left out. All are saved or none are saved. There is no forgiving any part of it, no washing away any part, no absolutions, no karmic cleansing, all of history is necessary while the future is yet wide open. Anything you can possibly do now you can only do because the whole thing, every detail, has transpired and made it possible. Not every part is equally important, but every part is equally indispensible.

                Life is a whole. You cannot wish any part to differ without insulting the rest which depends on it. Even utopia is a dream derived from, and impossible without, life's nightmares.

                What is the opposite of Allism? What does it set itself against? We must be careful not to resort to paradox, that tool of religion, to achieve the mystical effect of stunned logic. That is the aim of koans, of trinities, of the verse of the Tao. The opposite of Allism is sectarianism -- the crime of metonymical definitions -- yet to truly be all it must also include the sects -- and that is the moment of contact in Allism. The sectarians take themselves as the only right way, not for just themselves, but for everybody – even daring to impose on the fishes and birds! Their partial view is based on the self-deceit and purposeful ignorance regarding other possibilities; the sin of every religion is unjust abbreviation, is repressing a truth. Truth again is the unqualifiedly good insofar as it has been beautified. Raw truth is dangerous.

                "I am the way, the truth, the light, none get to the father except through me" are the most evil words ever spoken, and have caused the most violence, bloodshed, and cruelty, not to mention fully unwarranted spiritual arrogance, than any other sentence in history. Of course, no Jesus ever spoke it -- the Jesus of the gospel of John doesn't sound at all like the Jesuses of the gospels, and doesn't mind giving the Jews the paternity of Satan. These words, the vilest of sectarianisms, have justified every method of conversion persuasion yet invented by the zealous imagination of the church, and I mean its wide array of torture instruments, both spiritual and material—the rack, brandings, flayings, a whole set of devices invented exclusively to do the Lord’s work. The curse of Abraham continues in them, in Islam, and also in Mormonism, which is the next horrible thing.

                And yet we must put all these volatile elements together, make them behave, keep them from blowing each other up -- 'we' as in the world government, and also as in the Allists. Inspiration checks no clock, and the inspiring Spirit has gossiped in every religion's ear. Power flows where wisdom goes, and even the sectarians have some part of the truth, which lacking, the world would be poorer. The sauce makes the meat, the meat makes the meal. Life is in the living, and wisdom is in success.

                Us Americans with our religion of self-reliance, and our lives as self-made men, who with Emerson say "every man his own king," add also "every man his own God," if he dares make that step. We are the American Race, and ours is the American Religion. The blunt man frightens fools. Thus we worship the All with blasphemy to the sectarians. Any man willing to damn his goats is no good shepherd. For any thug can break your bones, but it takes a priest to break your soul; their gospels are thumbscrews, guilt trips, moral blackmail, and the most vulgar of threats. Yet as Allists we accept it. I accept it. That is the way they think, and some people will always think so. I can still love them and fit them into the whole. Never take strife for wife. I do not let such people near my heart, they are too vicious. But I nod at them when they find their beauty.

                'Blasphemy' is what your religion says about mine. Will we blush if Ama is called a whore, Mattria a whore? As if this all-one didn't contain all whores, all saints, all men, and Ama all gods, so that there is no divine to be named other than hers? Curse her curse yourself. She is the mirror image of your soul. Whatever you think of her is what you think of your inner spark. Mythology is your neighbor's religion. We ask no faith in what we say: spit for spit, words for words. It all comes out the same. The realities these words refer to are more certain than life, and it is not in me to doubt them, for they are my life, my daily life, my every living experience. Call them what you will, they are importance. And insofar as you call anything divine "not really so," you are limiting your own soul, shutting yourself out of heaven. Any man, woman, or child who says "there is only one way" is most assuredly not on any way to heaven. Those who speak for God justify our doubts of God. Why would he let such a presumptuous fool take his name in vain? But Ama doesn't mind at all what you say or don't say, for I do not speak for her, she only can speak to you, and what she says to you is of absolutely no interest to me, or anyone else.

                We wouldn't set laws nor command anybody, not insofar as we are Allists, but on other layers we must. We say that a thing is allowed to be what it really is -- that nobody can teach you your business -- and those who submit lose that power;  the one true to himself thereby best fits into his world. The coincidence of the innermost with the outermost makes life providential, though it be governed by Chance alone, for the inner interpreter uses the unfolding of facts as opportunities to define its way.

                Time moves in many directions, in many dimensions, though consciously we experience only one dimension. The nonlinearity of the universe makes the act of playing the game to change the rules. How we play changes the game. A decision can change the past, just as a new historian changes the face of history. If we could reduce all the universe into one picture, all the metaphors to one design, what would it be? Your very self, body, mind, heart, spirit.  Chaos requires a correctly shaped graph, and what seems external is mere projection, as when John's religion failed, and so he imagined the destruction of the world.

                Some say that the chief joy of a game is to believe it no game. When work and play become one, a man enjoys life; when fear and love combine they make passion. "Historical Christianity destroys the power of preaching by withholding it from the exploration of the moral nature of man, where the sublime is, where the resources of astonishment and power reside." When Emerson said this, he meant the partial has no right to limit the whole. Too many people play the game like a riot at a soccer tournament: if they lose the game they destroy the world.

                We do not take anything at the level of religion as final, or above it, anything of philosophy as final, or above it, anything of poetry as final, or above it, anything of heroism as final, but all of them together make the full view. Even the view of the All herself is something we should consider yet not submit to, she is not glorified if we agree with her or disagree with her, she is glorified when her children become themselves great. Her view is one of many views, nor does any one God, or all the Gods together (Ama) hold the right view, but only one more perspective, tied to an individual necessity, not binding on all others.

                When Ama with a kiss lays the egg of decision upon the brow of a man or woman, after he has survived his youth and must make himself his own person, then he must decide whether the egg is maggot or caterpillar, for his own innermost fills that blank and may make it a caterpillar, so that he creates the self-propelled wheel, the perpetual motion machine, the undying dynamo, the Allthing. When an infinite verb is set in a man's heart, that engine tears through the flesh and is either the wings of his apotheosis or the scythe of mortality, whether he is merely the angel of some other God, only to merge with that God, or if he is his own self-made, self-centered independence of autonomous Deity, who alone will know the All. There is one means to apotheosis, and only one, and it is not in submitting or believing but only in original creative greatness, for when you create anything you also create your eternal self. Obedience, belief, submission, and enthusiasm are the moralities of Judaism, Christianity, Islam, and Mormonism – all of that is good for its place, but not good for the all place.

                Make it therefore your Law of Life to never be controlled by anything, nothing which could interfere with your highest goals. Life is in the living. Addictions and obedience both destroy.

                I feel my relationships are games. But a game is different than play, in that there is risk, danger, challenge, and much is at stake. The fun is the joy of will power. To play well, to love and to empower myself, these are the stakes. Attention is at stake, admiration and adoration. Lacking these, my spirit recedes. A boring game is no game, and when the stakes are high, it's never boring. Every relationship is work and every relationship is play. The Game ever progresses. Each of my social habits, my full personality, is strategy, so many tools and attempts to gain power and love, so many ways of expressing myself through need and will. The tongue has no bone. It is when I give my flesh that I gain my chips. Every argument, every fight, every seduction has its moves, its rituals and improvisations. And just as a religion posits a hidden world behind this world, but really only to explain this world, and as art satisfies us by giving us other worlds, which are really layers of this world, so my very spirit is in my words, and how I use my language echoes back into my heart. Play the game, and play it so you are challenged to your limit.

                Milton said the lyrical poet can use wine and coffee, but the epic poet must "drink water from a wooden bowl." That is the nature of creative flow. All manners of intoxication -- from wine to romance to religion -- are ejaculations, quickly spent. Muhammad and Smith write nothing as formidable as Aquinas with his Summa -- which is a sober, drawn out, noble work. For the masses, obnoxious shouting wins the day. The instinct of Allism as usual is to use both to alternate intoxication with months of modest sobriety. I owe my deepest insights to my dangerous manias. Health is in rotation. Make it law, obey yourself, and never be ruled by anything external, be it "duty" or "goodness" or "honor," let alone temptation or addiction, but always remain at your heart independent.

                Love is intimacy, power is distance. The pregnant artist is too depressed to feed his muse. Drained, apathetic, moody, he needs his space, his vacation.

                I have been there, I am there now--oh you lovers after my heart! Hold true to your course, though the entire world derides you, though your very father, mother, sister, and lover call you a fool. They are "concerned," they worry for your health. I recall announcing to my mother that I was a genius, the idea never occurring to me before, and she assured me, "no, you're just Daniel. You are ordinary, and that's okay." She was terrified at such talk.

                Your friends don't realize how lucky they are to know you, my gentle ones, you readers of my heart. Who knows the innocence of your heart?

                The goddess lofts me in her arms, subdues my brow with her palm. I look furiously into my lap. "Why, why little one do you strive so hard? Who told you to strive so hard, so constantly, oh lover! What crown of glory! You never let anyone close, never let anybody see what you are after. Am I not your Ama? Why keep your eyes so intent .. always? .. always?"

                Do I not take my children in my hands as well, and coo "My little pretty one, my darling angel singing one, my lovely hugging silly one, come wrap your hug round me!"

                Haven't you felt it too? I will never be loved as I want to be loved, with the grand exception of Ama. Who holds the passionate dynamo, the sun in their breast, like the ripe peach of the setting sun, bleeds beauty upon my brow? Who but Ama, and my lovely few?

                The allistic man is not alienated so much as abstracted, and therefore free. We love intensely, so we hide our hearts. Just one century ago, America was 25 IQ points lower. This abstracted world has made intellectuals of the whole race! We are alienated. Let us be grateful. Distance, the control of distance, is power. Let the world orgy, we will be sexually modest. We keep our intimacy for the precious gods of our own. I will sing my praise into your ears, but for the rest I stay aloof.

                We are visceral thinkers, our bodies lenses. We know that our minds will never lack a body, that after it sheds this it will find again divine flesh. Like the young Jefferson, we grow impatient with our friends, and shed them off for greater groups, but to each other we are infinitely committed, and take our commitment to each other as true love and true duty, for love is the only excuse for duty. For dignity must balance intimacy, power must interplay with love. Ama first. And you together are Ama. Darlings, make your friend a friend for life, gift for gift, laugh for laugh, truth for truth.

                Just as children are protected from the outside world, infants cloistered from the adult world, but are given every manner of toy world to play within, a family world first of all, and the prank private criticism of it in the children's playing of house, and again in another worlds, in the movies, and stories, a constellation of worlds to prepare for society, so this life, our place in it, what we allow ourselves, how we protect our minds as if they were children, prepare us to live in the world of gods, of which we are already play part.

                A world is a constellation of situations in a given stamp of style. The worlds of our fantasies, the worlds of our genius, are as real as any, and await us as we pass. Laws are rivers, and the Laws of our being rushes over every world.

                The final distinction between man and man, between God and man, is that the true man, the divine man, doesn't give up, isn't discouraged, persists at all costs, when nobody supports you, when your family and friends think you are off -- that at last might be a man worth knowing.

                Relationships are games, but the creation of the universe is a game as well-- the cosmos were created in jest. Getting to know other sets of rules, dozens of games played at once, with theories of how to put into practice and strategies using hidden logic -- that is the fun of it. But at the conscious level it seems to be the intentful work of daily duty. Focus is soul, and where my focus there my being. We play at life, we love at life, we strive at life, we seek all, gain all, do all, love all.

                Mattria we call the All, but any name will do. Every God is a mask for her, but only all gods together make the true mask of her, our Ama. Oh my Thea, thankful, set a soft tranquil tongue of bliss, intrepid kiss. When you praise me I strive to justify your words. Just as it takes more intelligence to keep money than to make money, so it takes more love to keep a friend than to make a friend. Would I lose any of our own? Ownership requires commitment, love requires duty. And so I am all for you.

                And for my own, don't praise me at all. Praise your savoir not at all, merely acknowledge a well done deed. Not every man is your brother, but man is cheered by man, and the one who is patient with you knows you.

                I am the Allthing: Mattria takes flesh in me. I the All, my body world tree. And you all aspects of Ama, each of you a glint of love, my stars and congregation of resonant peers.

 

 

 

http://perfectidius.com/bookstore.html

 

 

"Tempo and Pace" an essay

Daniel Christopher June to the students of Life:

Greetings!

 

As I’ve mentioned, I’ve been working on my next book, Volume 2 of the Perfect Idius, which I have entitled The Writing Life. It explores the nature of literature, the craft or writing, and questions of aesthetics in general. This section here, for example, is looking at how music, literature, and life, is set by a pace and rhythm that determines its spirit, or its style of being. I’ve been struggling with these essays. In many ways I am redefining my approach to writing by commenting on them. I am trying to outdo myself ever, to improve my style, and train my eye.

 

Take care, Caretakers!

 

Tempo and Pace

                Pace. All works set a pace. Nonfiction, insofar as it is an organism rather than a mere collection, paces the reader as well. You must comprehend the major points as fast as the writer presents them. If you see conclusions far before they are presented, you will be bored, perhaps insulted. If you must stop to digest a bit, you will lose the flow that allows the whole to be grasped.

                In every part we take in we project a tentative whole. In music, we feel the whole symphony at the first note, and this shadow-whole must constantly haunt our mind, or else we would never or always be surprised.

                The whole of a book, of a symphony, even of a painting as we scan its parts, are always one object in our mind, an object which, when we have finished the symphony, has deepened and crystallized, so that we have one experience of a two hour movie, one mood, one feeling, one episode in our head.

 

                There is no “emotion versus reason,” for reason is in all things and is all things. Reason is in ratio, ratio in music.

 

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                “Pure form”—nonsense! Only matter can be pure and only matter can have form. The rest is not just sophistry, but bad sophistry, the infinite praising of the unseen so that we believe at last in the praising, and only because it talks of things we cannot see, to verify or deny. That is the basis of faith. If you make a statue, cover it up, and then praise it to high heaven and back, the world will truly believe you are the next Michelangelo, until you lift the veil and see Leah winking at you (and not from mischief, but from lack of spectacles).

                The most basic form of music is the melody. Mere rhythm is not quite musical, and insofar as it is, it is because it represents a melody. It must have pitch, it must have repetition, it must have movement. Melody and the sentence are essentially the same thing. Human beings talk in sentences, and they sing in phrases. A sentence emphasizes ideas, whereas a melody emphasizes sound, but both are in fact processed in the same part of the brain, are based on the same experience.

                All harmonies are combinations of melodies. A certain melody sounds good, and thus a certain harmony sounds good. Every chord progression is based on a series of basic melodies.

                Most harmonic music is a slow, simplified melody; in their complex forms, they are called “counterpoint.” In music, a series of simple melodies, called harmony, usually give backdrop to a complex solo melody. The “scale” represents a conventionalized melodic framework.

                It is well known that nature uses mathematical ratios to create crystals, sunflowers, snailshells. It exemplifies Fibonicci's ratio, the golden ratio. Music too recognizes beauties in the ratio 3:5, in the relation of a 1st, 3rd, and 5th. All beauty is symmetrical, and insofar as the asymmetrical is sublime, it is because it leads to more sophisticated symmetries. Or to say it simply: beauty is math. Or more particularly: beauty embodies math.

                What math can we find in sublime literary works?

                The iambic pentameter is conversational rhythm. When you wish to make a sentence stand out in your prose, pay close attention to rhythm. Assonance allows flow of spirit, and is subtle, consonance allows flow of letters, and unites words together.

                Read your work out loud. How it sounds is prior to how it looks. The American literary tradition is made up of lecturers: Emerson, Thoreau, William James, John Dewey. These orators appreciated the sound of words. I have heard of people who claim they hear no inner voice when they read. I pity them. That inner ear breathes delight into my reading.

                Writing is a form of music. All great writers at least secretly attempted poetry. Try every genre, tease every sense.

                When teaching a new idea, seduce it to as many senses as possible. Hear, see, gesture, dance.

                A line of prose is melodic. Punctuation marks the phrases and pauses, the stresses on significant words—emphatically and rationally. When a word is emotive, or strange, or threatening, or confusing, or significant, it stresses itself. Thus, the sense of a word lays a musical stress on a word, an accent, in which the mind thinks it louder and slower. Thus, unlike music, a prose argument uses reason as music, whereas a symphony relies only on the senses. In this, literature is the superior art, for it is the rational art, whereas music relies merely on sense pattern.

                If we invented a Glossalia, a language based solely on sound, we would recognize the difference between flow and interruption. Vowels are the flow, and consonants are the interruptions, a clunk that pushes the sound forward, like a runner pushing off the pavement. With alliteration, words are connected; those that sound similar refer to each other, and join together for an instant in the mind. But with assonance, there is a magical formula behind the words.

                Try this: sound out the vowels of a sentence, letting the vowels flow into each other without the interruption of consonants. Note how this creates a feel. The best writers have a second ear for this, and write unconsciously what feels best. But they do this by listening to music, to poetry, and analyzing what sounds best. Thus you ought to analyze the words and sayings which reach you strongest.

                In nonfiction, we have the topic, the argument, the structure, and the style. We tend to think of style as the most external part of writing, we label rhetoric as “ornament,” or “surface.” In fact, style is the heart of content. Style is the personality that chooses every element of a writing. Style is, in fact, a pattern maker, a choice, an exhibition of will. Of all the various styles an author may attempt, there is one style-maker, one stylus, the immortal I.

 

**

                The Greek Gods were sublime in that each God held his opposite, Hephaestus, god of handiwork was lame, Hermes god of math and language was tricky, Hera goddess of marriage was jealous, Hades god of the underworld was depressed. There is no demon in Greek religion, no need for a devil, for each God was complete, and did not circumcise and mutilate his power into a "Satanic" other.

                All religions are a combination of myths, rituals, laws, and sacrifices. The rituals make the form by which the religion is created, the myths justify the rituals, the laws put the people in spiritual debt and enforced conformity of behavior to keep the traditions in place, and the sacrifices make each man pay into a system, and therefore, have part of himself invested. Though rightly called "systems of cruelty," religions are also sublime, the poetry of the people, the philosophy of the masses. What makes a religion?

                Mysticism is the core, the foundation, the inceptions of a religion in the same way that sex is the core, the foundation, and the inception of marriage. Just as Eros is the center of marriage, and we can call marriage "sanctified sex," so too is religion centered on mystical experiences, which are achieved by at least a few of its adherents through myth, ritual, obedience, and sacrifice.

                Mysticism is the deep aesthetic of the most important things. The beauty of importance is the center of religion. All religions are artificial, each invents gods who then go about their business, and allow us a real connection with our innermost nature, which is felt as mystically important. High art gives the same experience, if not deeper, but to experience art in the same way requires great sophistication, and sophistication is something generally lacking in the devout, and especially in the founders and leaders of world religions. Religion is the poetry of the masses.

 

                Art is the definition of an emotion, just as philosophy is the definition of an idea, and science the definition of a sensation. All experience has form, and when that form is complete, we call it an episode or an incident, or if of greater magnitude, an event, but art is different than lived history in that art finely defines an experience into a form whose unity is apparent and aesthetic, with parts proportioned and balanced. Art fulfills unity. Just as every experience wants closure, wants to be delimited as "that thing," so that if we watch half a movie and are interrupted, or hear the set up of a joke without the punch line, we feeling the aching lack of closure. So does all of life segment like a centipede into moments of experience. Memory, as it rehashes itself over and over, makes our history into a sort of art, and it is the glory of memory that it becomes more aesthetic and less literal each year of our life.

                Unity is achieved through a consummation of increasingly cumulative values into a subsequent whole. The artistic experience must be small enough to conserve an integrated effort of attention. The space of man's attention is small, from birth to death. Children like small stories because the genres are new to them. We as adults fancy we have greater patience for stories and can take more in, and perhaps in a way we can, but really we have become so familiar with those forms, that unlike a child, we need only pay attention to a few novelties in what has otherwise long ago become the familiar forms of art. Just as a great doctor or psychologist knows how to focus in on a few important details, so that it is rightly said that "wisdom is knowing what to overlook," so too do adults know how to take longer and wider experiences, requiring greater patience and good will, for they have already internalized the form, and fostering good taste, which derives from a study of theory and a wide experience of exceptional art, trains us how to alternate between receiving and giving when we look at art.

                "There is a rhythm of surrender and reflection in art. We interrupt our yielding to the object to ask where it is leading and how it is leading there," noted Dewey. We give attention to and take our place from art, sometimes submitting, sometimes rejecting, and this is the dance of appreciation. You can't force yourself to see beauty. You can't pick up Joyce's Ulysses and say "this is supposed to be a great novel," and somehow enjoy it. Either you are ready and able to see it, or you aren't. Personal temperament may make you permanently unreceptive to an art. All art is rhythmic, is an alternation of energies in mutual resistance, so that the work oscillates from compression to release. Certain rhythms are manifest only to long hard discipline. Some you can never approach. It goes without saying that a deaf person can't enjoy a symphony, but there are aspects of performed sign language that a nondeaf person can't enjoy aesthetically either. Rhythm requires constant variation. A dynamic between surprise and predictability is necessary to keep the audience awake, alert, and interested. The virtuoso guitarist Steve Vai, although a bit of a showoff, was good at alternating his complicated flash fast guitar solo digressions with the hook of the song, some simple riff that brought the audience back to the surface to catch their breath.  Rhythm is in compression and release. You must force their attention as far is it will go, and then give their attention a break. Spacing and timing is taste. Position is energy, suggesting compression or release, and the intensity of rhythm and volume evoke the emotional battle.

                An artwork is like a person. You must know how to receive him to let him blossom for you. Each unified art has a spirit and soul, that is, a style and a tone, which holds it, which implies and unifies it. The art reaches out to the All, and suggests a world behind the world.

                The artist is  by nature an experimenter, and finds forms all over his world to steal into his creation, the way the Disney artists of Fantasia would find the right color for their movie in the jelly of a sandwich, or some other such nonsense.  Only objects have beauty, for beauty is of the flesh, is physical and sensual. The world alone is beautiful, grows beauty, makes the artist who grows from his soul art. Things in and out of art propel its development. Like a human being, it grows from within, and it grows again in response to the world.

                As national artists, we ought to internalize our traditions and tense ourselves against them. Where the tradition is inconsistent, we will correct it, where it is redundant, we will diversity it. The artist must be sincere. There is no faking greatness, for as Emerson said "pretension never wrote an Iliad." He who wants the ends without the means is no artist. Ends and means must be married. Only the greedy want the ends without the means, and the playful want the means without the end, but the passionate and the great wed the two. The ideals you seek must grow out of the reality they are to inspire, or else they are abortions, for as the ancient priests would say of the stillborn child, "he was too good for this world," and thereby he damns the world.

                Better the bless the world -- art is a blessing upon nature -- by glorifying our experience. Art defines an experience to present a nuanced emotion. You must know yourself and your experiences, be open to your innermost and congruent with your experiences, to create great art. Know your limitations. Scope must be in ratio to power. Don't overreach.

 

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                "Yielding to a natural impulse is at the heart of all healthy language making," -- yes the wordsmiths are impetuous. Oh Lux! My hips will shudder and thrust with love! Give me ecstasy! Echo my words! Who is my twin divine? Why does the world respond with silence?

                Of all the things I read and hear, silence is the most difficult to interpret. Next in difficulty are words said only to mask true feelings. From your lies I can divine the truth, but your silence is impenetrable.

                Come, let us breathe together, and, like true friends, think together. Every mind has its metabolism, the set of tempos it thinks and feels, and of the friends, cities, jobs, songs, and books it chooses, these are chosen by resonance of mental breath. Yet all minds are plastic, moldable enough to imitate the arts they hear, so that beside my manic friend I feel invigorated and realized; and reading Tristram Shandy, with its long meandering sentences, my thinking tends the same.

                We seek out art that amplifies our moods, that intensifies what we are. The depressed require stimulating ideas to provide energy otherwise lacking in their system. The low want narcotics, alcohol, cigarettes; the depressed drink coffee. It's all to set a pace, to structure the days of life like the passages of a symphony.

                Its not the joke, its the execution. The most entertaining magician is not the one with the subtlest hand, but he who bears the most mysterious smile. A good comedian can tell god-awful jokes, and have the audience rolling. It's all in performance, its the human touch, the pause, the wait, the spatial placement. It's having the Eros of rhythm.

                Rhythm is the mastery of change versus same. The two antagonistic energies must resolve. Tradition and innovation must have at it. Tension is stress -- only tension makes great. If a thing is not brought to its limits, it cannot grow. Pattern and structure stand firm on repetition, but only deviation keeps them interesting.

                Comfort itself becomes painful when it grows boring. Comfort means you are in power, but not growing. Fear and loss of power are part of growth. You must risk and lose. You must at times submit.

                A will that surrenders incorporates and internalizes the imposition. Surrendering is not giving up. Submitting is not quitting. You must master the outer tempo.

                Your pulse must set your pace. It would be a sign of bad taste to wear a wrist watch while composing poetry. You may resolve a hundred times locally, but to resolve globally, you need world wide tension. Harmony, melody, rhythm, these are aspects of writing as well as music, aspects indeed of life itself. All arts bleed into life, and nothing is pure of each other thing. The only mischief is when flow is blocked.

                Psychotherapy, and that better therapy you face in the mirror, aims to cure writer's block. Expand, extend, become autonomous, develop, mature, to express and activate all the capacities of your organism, to enhance the self. Under your defenses, integrated and effective, hold a realistic view of your self. All animal functions can be quickened by easy, bold, exuberant, self-assured rhythms. All you do, every movement, is a music that infects the very walls of your house, lives forever in the air, and influences all those around you. Your daily gab sets your pet.

                Music sets the pace of our emotions, language the pace of our minds. Isn't it peculiar that a man can study the mind of another his whole life? An ape studying an ape? A cat studying a cat? Look at yonder Shakespeare scholars, Beethoven buffs, Einstein maniacs. We all are more or less equal in potential, though we each have a unique set of circumstances -- so why defer to an external mind? March to your own drummer, make your pulse your drum.

                We act and that actions lives on. We each sense the limit of our freedom. Thus, a man isn't too surprised by how his actions reverberate in the minds of others. My mind is checked by yours. One melody clashes with another, and some people never even meet each other, for their auras keep them twain.

                Quick and showy virtues, such as washing a friends' feet or dying as a spectacle, are not in themselves useful. A lifetime of persistence is the manly virtue. Dance to the rhythm of your pulse. Be your own God. Make your own world. The world needs no martyrs; the Universe loves her poets.

 

 

 

 

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Saturday, October 29, 2011

The Missionary and the Snake

The Missionary and the Snake



          James Harner sharpened his seven inch hunting knife. It had been six months since he had arrived at the village of Kapi, approachable by river through the Amazon rainforest, east of the Andes, where he had come to attempt to establish a church among the Kapi people. His attempts were unsuccessful. The native religion resisted, and his presence was resented.
          In fact, his church had only five attendees, Magda being the most devout. She was the black sheep of her tribe, even opposed by her four sisters. Within three days she had already warmed to the gospel, and had since become his second-hand woman. Her enthusiasm alone would be enough to save many of the tribesmen if it weren’t for one thing--the snake.
          Oh the snake, that damnable snake! About fifteen years earlier, a neighboring tribe had made a peace offering to the Kapi people of a thirty foot anaconda. It was carried in by seven strong men. The Kapi prince delighted in this snake, believing it could guide his rule. He was only twelve at the time. He did not live to see thirteen.
          The snake crushed him in his sleep, swallowing him whole. The entire tribe mourned in amazement, until the village priest exclaimed that, as their religion proclaimed, the eater becomes the eaten, for the soul of the eaten atones with the eater: when the sacred anaconda eats a man, that man lives immortally within that god. The prince had now assumed the form of a serpent, to lead his people forever, speaking in a language the priest alone could interpret.
          Since then, many young children, especially the sick and cursed, were offered to the prince to be made likewise immortal. The anaconda had eaten eleven children in addition to the prince.
          James had been trained for this. He knew of tribal superstitions, and he knew that the gospel message was strong enough to defeat any deception. The deficiency was his own. He had not appealed to the people. He was a man of action, not eloquent with his words. He preferred building churches to preaching in them. Yet he had a mission, and he would finish it.
          He would--even if the village was the most stubborn case he had ever heard of. The sacrifice of children had to be stopped. It was precisely this point which made him so unpopular; his emphatic denouncements had cost him the trust and respect of the tribe leaders. The women feared him. The children taunted him.
          He sheathed his knife and put some logs on the fire. Then he walked out from his hut and headed towards the serpent’s lair. It was nearing midnight, and the pit had been left unguarded.
          There wasn't a stir within the pit. He held his torch to look inside, and saw the snake upon its alter, coiled and staring, blinkless, with the solemn regard of cold intelligence behind the torchlight in its eyes.
          James leapt into the pit. Still the snake failed to stir. He approached it boldly, unsheathed his knife, and vee'd his hand to grab its neck.
          It bolted its fangs into his left hand, throwing a coil around his arm. He dropped the torch, and the pit fell dark. He stabbed at the snake and cut a bloody hole into its sickly slick body. At this the snake spasmed, and the knife fell from his hand. The snake threw a second coil around James’s chest.
          And squeezed. James wheezed for breath, falling flat and jerking to kick himself free. The snake would not relent. He rolled over and grabbed blindly for the knife. The snake threw a coil around his legs.
          Finally, he saw from winced eyes the reflection of the dying torch upon the knife’s silver blade. He grabbed the handle, threw his arm skyward, and with the force of fury inspired by the grace of heaven and fortified by the rage of hell, swung the blade into its cold loveless neck.
          The snake spasmed again, but quit its grip. James pressed the blade deeper into the neck, pivoting it around like a paring knife through an apple. His hands sopped with blood. At last the snake’s head fell clear off. The serpent had been crushed.
          James gasped for twenty minutes. At last he stumbled to his feet, cleaned his knife on his shirt, and sheathed the blade. He hefted the snake, coil by coil, and wrapped it over his strong broad shoulders, so its coils twined round his outspread arms. With strength made superhuman by his fight with the beast, he pulled himself from out the pit.
          After dragging the corpse to his hut, he exposed his blade again and crudely cleaned its flesh. For the next two hours he prepared the meat, cooked it up, and ate. What he couldn’t eat, he burned. By morning nothing was left of the snake but scales, bone, and ash.
          The shriek sounded at dawn when the keeper of the snake discovered the blood and severed head. The entire town arose. They sent for the priest.
          The priest immediately accused the missionary, and the village gathered like murder at his door. They shouted for his blood.
          James praised God in his heart as he walked out to face the crowd. Magda pushed through the crowd and meekly stood at his left side. James spit a fragment of snake rib from his mouth, and panning the crowd with the placid detachment of an anthropologist’s camera, exclaimed to the crowd:
          “See, I have devoured your snake, and so now the soul of the serpent is within me, as the prince was within it. To me you must now listen, and not to your priest. No longer can your priest interpret the words of your snake, for I have devoured the soul of your serpent, and I therefore have become your new priest.
          “I have come to teach you the glory of God, made manifest in the person of Jesus Christ his Son. He came to destroy the wicked serpent who bruised his heal, but Jesus crushed its head.
          “Jesus came that your sins might be forgiven, that you would not bow down before false idols and pay homage to false priests. Listen to me, your true priest.
          “Magda will now distribute the bread I have prepared. This bread represents the flesh of Christ, and this drink his blood. Consume it now, as a group together, and become with me as Christ.”

Wednesday, October 26, 2011

Tao verses 64, 65, 66

 

A few more translations of the Tao – we are closing up the gap to 81 verses. After this, I intend to carefully read the writings of Chaung, a rival interpretation, write an essay on my experience of the Tao, offer the manuscript to a Chinese speaking friend, and finally come back, make another draft, write a light commentary, and consider the book done.

 

The “try and you’ll fail” logic of these verses is troubling, and I don’t think we should translate them into terms that readily make sense to us, but keep them starkly paradoxical.

 

These verses express wisdom. Again and again the verses are phrases as advice to kings, so we must spiritualize that, being not quite kings ourselves!

 

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64.

That at peace is easy to hold

The not yet is readily prepared for

The brittle is quickly smashed

The vague is with a word dispersed.

 

Approach your problems before they’re established

Manage them before they’re trouble

A hug-wide tree grows from a sprout

A nine story tower comes from small shovels of dirt

The journey of a thousand miles begins with a single footstep.

 

Try and you’ll fail

Grab and it slips

Thus the holy man

Who doesn’t try

Doesn’t fail

He doesn’t grab

It doesn’t slip.

The people, always chasing their business,

Are ever close to success but inevitably fail.

Be careful all the way to the end

As you were in the beginning

And you won’t ruin your business.

The sage who doesn’t desire desires

Who doesn’t seek rare treasures

He reminds the people what they missed

He helps them find themselves

--Yet without daring to do a single thing!


 

65.

Those ancients

Skilled at the Tao

They didn’t enlighten the people

Who were too simple for that

 

The people are difficult to rule

When they know too much

Accordingly, rule the people with cleverness

And you rule to their ruin

Govern naively

And you rule to their fortune

He who knows this balanced pair

Holds the template.

The standard template is a profound power

Profound power goes deep and far

All things regress to their godhood.

Thus the great balance.


 

66.

 

The rivers seek the sea

To be kings of a hundred valleys;

Because they lower themselves

They are kings over a hundred valleys.

Wanting to stand above the people

You must lower your speech.

Wanting to lead

You must follow them.

Thus if the stage stands above the people

They don’t feel his weight

He stays first by doing no harm

The world rejoices and praises him endlessly.

 

Because he doesn’t compete, the world can’t beat him.

 

 

 

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