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Saturday, September 18, 2004 |
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Posted here Saturday, September 18, 2004 at 4:31:48 PM Here is a post that moves into the richness of the poetic, but with the added sense of significance: telling us about the stor we need to know. Remember, these are rough cuts, pieces of a larger picture to be assembled.
And in The Tempest, islanded off from history, the Magician-Artist-Scientist-Philosopher is free within his magical theatre to revise the moral rules of the world for the better. Surrounded by the nothingness of the sea, "rounded" with "a sleep," uncoupled from the responsibilities of the old world, a new paradise is brought into being by Prospero. In it Miranda, his Eve, and Ferdinand, his Adam, can re-enact the story of the Fall without its evil consequences. Creativity and change need not be necessarily evil. Prospero's prohibitions, unlike Jehovah's, are meant to be broken. Sexuality is not, as in Genesis, permitted in Paradise and cursed after the expulsion from Paradise, but marvellously transformed into a reward for that disobedience and generosity by which the young seize to themselves their freedom from their parents. Prospero, instead of making toil into the punishment of disobedience, as Jehovah did, transforms it into the trial of love, and gives us the beautiful spectacle of Miranda helping Ferdinand pile up logs. Most important of all, Shakespeare grounds his new ethics neither on nature (you cannot trust Caliban) nor on the inborn essential soul (you cannot trust souls of Antonio and Sebastian), but rather on an act of art, a social chess-game in which the game itself establishes the spiritual identity of its players. The climactic moment of revelation that sums up Shakespeare's life of art is the drawing aside of the curtain to reveal Ferdinand and Miranda at chess. The brave new world, the moral America, is, like a game, ungrounded, for it needs no ground. It generates its own values; it writes its own constitution. Prospero is a juggler, like Marlowe's Moses: but he sets his children free not only physically but spiritually too. He breaks his staff and drowns his book, freely renouncing the authority that his children have claimed as their birthright. His noble lie does not conceal the fact that it is "only" a fiction, an "insubstantial pageant" which, having served its purpose, can dissolve, solemn temples and all, and "leave not a wrack behind." The best posterity is the freedom and self-command of one's descendants. Perhaps (and this is mystical) Shakespeare intended to let his plays perish without being put into a book.
It is here, in The Tempest, that we find the last words of that debate on Nothing that began in the French ambassador's house in 1583, continued across the Atlantic, into Virginia, through Hariot's abbey of Molanna in Ireland, through the plague years at Sherborne, to its darkest moments at Sion House and the Tower of London in the time of the Gunpowder Plot. Suppose, went the debate, the world were founded on nothing? Where is the edge of the world? Would not the boundary between all and nothing constitute a fulcrum whereby we could get tremendous leverage on the world–even if that boundary existed in all matter, depending on its density or rarefaction? Suppose the soul itself were not so much an entity, a being, as a reflexive process at the boundary of being–or even a systematic absence whose suction galvanizes the world into action-like desire, for instance, which, like a lack, disappears when it is fulfilled? If we are masks, can masks love each other? Why not? Is there a fertility not of the order of nature but of the order of art? What is justice, if the soul is artificial? If the world is unfounded, like a game or a language –that is, if it is conventional by nature–what constitutes a new move or a new utterance in that game or language? What is translation if language is no less real than the world? Can we change the rules? Should we change the rules? In the process, the conversation gave us much of our algebra, astronomy, and optics, the roots of our political theory, and a rich legacy of poetry and drama.
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Posted here Saturday, September 18, 2004 at 11:00:37 AM It is Important to realize how deep it and widespread was the discussion about the difficulties of the war in Iraq before it started . The normal Bush position that everyone was for it is very wrong .
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