'Love destruction', 'Violated', 'Outsider' and 'Siege mentality'
Spinozist culture pervades all. It is the emanationism that festers at the core of all science and art. It is the post-Renaissance resurgence of the old Judaisms - original, Islamic and Christic. It is idolatry; and the idol that must be worshipped is the One.
What brings the financier, the Marxist and the anarchist together? The One. Globalisers rule through the canons of literature, art and science. The masonry of adepts comes together in the academy to worship closure and entropy, which is passed on in simple liturgies to those outside the inner sanctum as popular culture in its myriad forms.
Their antecedents were the exiles in search of a home who brought the Renaissance down. They found a home in the One by deconstructing the sovereignties of the many.
The mantric essence of this culture is best expressed in the Spinozist dictum that ‘Freedom is the recognition of necessity.’
The struggle is as old as time and, as though to confirm this, the ancient mythologies give us the metaphors for understanding.
In contrast to the idolatrous worship of the One and the path of return to the One, to be human is to be a violator of the One.
The One, the originatory Substance, the dark still waters of equilibrium, Ein Sof; these are all sobriquets for Chaos.
This was the infinite past reigned over by Ananke, the personification of necessity, and Chronos, the personification of time.
It was Eros who brought light upon the dark waters of Chaos, Eros who broke free from the comfort and confines of the cosmic egg to breath a new life, Eros the symbol of birth, awakening and consciousness; becauseEros is being.
Eros too is Love and Love is the beginning of everything. Before Love there was no being. Chaos was not being.
Eros burst from the cosmic egg entwined by a serpent. This is the serpent of memory, the serpent of guilt, because before transgression there was no being.
Eros enters the still dark waters of Chaos as the Violator and Disrupter. He enters the cave and paints on the walls as a creator, imagining and making manifest things that had never existed before.
Love stood before Ananke as the rapacious destroyer of any equilibrium. To Love is to destroy, create and give birth to the New. ‘Make it new.’
Worshipers of the One would have us return to the Chaos of equilibrium and pre-being. The one-worlders, globalists, financiers and their fully paid-up Gaia-worshippers, eco-warriors, Marxists and anarchists, are today’s idolaters who would have us return to a life of time and necessity; and time, of course, is money.
Dante saw a human face in the paradisal light. He saw the divinity of man in God; and God is Love. He saw man in the image of the Creator, man as Love.
To love is to be human, whereas the worshippers of the One reject Love for a soulless sub-human existence. See though their corrupting influence. The kabbalistic fable of exile and return is their tale, not ours.
A return to time and necessity is death. The struggle against time and necessity is hope for Heaven and Love; and God is Love.
The pro-life struggle against the death cult is ages-old and must continue so long as life clings on.
© John Dunn.
And where does compulsion fit into the cosmic egg metaphor? What about the paradox of the escape from Ananke and the Fates being driven by some form of compulsion?
For the violation of a previous equilibrium comes from outside. Is that not the very nature of a violation, i.e. a forced entry?
One does not choose to fall in love. One is compelled to create.
Does not the compelling set of circumstances itself comprise a closed system? There is no escape once in love. One is compelled to put pen to paper, to paint…
I am reminded of how a youthful non-entity of anordinary life was awoken by exposure to a television documentary about W. B. Yeats. It had a potent Yeatsian mixture of poetry and the occult, albeit within the anodyne limits of the BBC, but enough of the magic and mystery from the life of Yeats seeped through time to enter the bloodstream of the young viewer. After watching the programme, he had to put pen to paper; the very first time that he had wanted to do so voluntarily. He quickly scribbled his nonsensical thoughts, long lost to the world, in an effort to contain the experience within some sort of boundary, to wrap it up and place it in the sequence of experiences that happened to him day-to-day. Who knows what was on the piece of paper, but it was born of that violation and would not be aborted. The walls of the egg were breached.
Encounter is the central point; and there must be a violation. This in itself is a proof against solipsism, unless it is I who created or readied myself for the encounters that violated me.
That which we encounter must change something or it is not a violation; rather it is no more than a polite smile. A violation changes everything - that first motorcycle and the long lonely rides across the northern arc of Yorkshire Moors and Lake District; the debilitating sickness of first love; those femmes fatales, with their bruises and scars of life’strials; that exposure to thinking lives and the books they wrote. And now the serpent of memory holds me.
What of the Orphic egg metaphor? It has its chicken and egg limitations. Yes Eros broke free; but only after egg itself was penetrated and fertilised.
© John Dunn.
from a painting by Lucas Cranach (1472-1553)
I think of Dante, lost in a dark wood where he, like the plants and animals about him did not observe nature, but rather was in it and of it, indistinguishable from it, porous to it, one with it; that is until Beatrice and the mud and spittle.
No tree falls in the forest unless observed,
A shifting of molecules, an event occurred.
There was a stirring in the viscous soup
And man applied the girding hoop.
Hoops, metaphors, man needed these to distinguish one stirring from another within the jungle totality, the forest infinity.
With metaphors man created the world, cut out a space from the forest, burntdown a clearing for himself, and started to distinguish one facet of the forest from the other, the wood from the trees, the tree from the wood, the falling tree from the other trees.
Man was teased from nature with fire and metaphors, himself from other selves, a myself, Me.
From whence the tease, the intervention? Can Ouroboros be pulled from its own mouth?
You pushed the apple in,
You, who committed life’s first sin.
The bitten fruit was the broken pact—
Emissary to the Outsider, you made me act.
Lips forced apart, I choked and ate
And, violated… became aware of the gate.
I saw you,
I knew you,
We dressed before we left.
© John Dunn.
'These two Emparadised in one another's arms / The happier Eden, shall enjoy their fill / Of bliss on bliss.' Paradise Lost (1667) bk. 4, 1.505*
The outsider is the violator, both evil tempter and impartial punisher of the wicked. Violation left me at first elated and then bereft. There followed the torment of unrequited love; and it is the humanising aspects of grief and despair, and all the collateral tragedy that recall the classical heroes of old echoed in Miltonic epic.
The Outsider’s mission to arouse and inflame man is a siege motif, where Eden becomes a Troy in need of invasion. Like Odysseus, adept at ignoble disguise, bearing gifts through a composite Trojan horse of serpent and woman, the Outsider ultimately succeeds in his goal to penetrate and vanquish the fortress. With the Fall comes awakening yes, but also loss, and it is the loss that is humanising - a life unto death.
In Book IX of John Milton’s Paradise Lost Adam and Eve prepared for their daily work tending the Garden; and because the Garden's growth seemed to surpass their labours, Eve suggested that they work apart. She had to get away from Adam.
Was not Milton’s Eve aware of vain labours in a garden ever more luxuriant and forever on the verge of wilderness? The argument with Eve in Book IX of Paradise Lost exposed Adam to the truth of what Eve had known all along. Their strained contentment in the Garden was no way to live - docile, passive and slaves to nature. In Book XII, Adam proclaims that the good resulting from the Fall that Eve induced is ‘more wonderful’ than the goodness in the Creation itself. He exclaims:
Oh goodness infinite, goodness immense!
That all this good of evil shall produce,
And evil turn to good; more wonderful
Than that which by creation first brought forth
Light out of darkness!
Love emparadised is something that imprisons, something stifling and claustrophobic, something complex and sometimes horrific. It needs a second awakening. Loss and unrequited love are where open airy uplands lie… across the lonely wuthering heights of heath and cliff.
* Paradise Lost - Adam Awakening Eve. Engraver - R. Earlom, Designer R. Westall, 1794
© John Dunn.