LEZAMIANS (ANALECT OF THE CLOCK)
And any study that attempts to penetrate the vastness of his work must grasp his certainties when he abandoned himself to polemics and in what form and style the twenty centuries of Christianity blew upon him. In his adolescence, when he was already beginning to sense secularity with force and finesse, in order to escape the decadence of the end of the century, he forced himself to separate the unmotivated acts from the useless ones. The decadence of the end of the century had established that our best gestures were the useless ones, that our most valuable words were detached from their own uselessness, and that art was useless and that life could be exorcised by smoking a egyptian cigarette -----------------------The decadence of the end of the century had established that our best gestures were the useless ones, that our most valuable words were detached from their own uselessness, and that art was useless and that life could be exorcised by smoking a egyptian cigarette --------- with a statuesque nonchalance. Chesterton's generous bulk had to decapitate those clouds of smoke, and so he bravely attacked that useless man, striking him with his unmotivated act. If I rub my hands because I'm happy or cold, we are within a pragmatic framework; but unmotivatedness begins when, without just cause, I begin to rub my hands together. Is that useless? The more unmotivated acts I can perform, the greater my fulfillment, because these causeless acts attest to the peace and otherworldly richness of fulfillment. They signify the greatest happiness, removed from all fragmentary satisfaction, and whoever performs them can better grasp the mystery to secure that obscurity of the accompanying force. The more unmotivated acts performed, the greater the height of the sign and the mission. Thus, the unmotivated act grants us health, and from there, truth must flow. Chesterton belongs to those who Catholicly believe that truth and reality are residues of health. The delight that dwells in the hierarchical and its path to salvation engenders health.
And Lezama continue
ResponderExcluirChesterton maintained at the root of his work two very essential attitudes for reuniting the 19th century with tradition. He united the most decisive implausibility and that weightiness3 that becomes gravity in the Catholic, a gravity with which he walks side by side with the fear of God. The denial of the two contradictions in his method was resolved in the plumb line of the pondus. Man emerges from an implausible truth, but acquires meaning as reality. Implausible and real truth. From the fact that this meaning acts in the face of obscurity, we derive its implausibility that walks. As soon as we assume that a being has always inhabited a body, being as meaning and body as mystery—being also as the meaning of the people of God—acting in time as eternity, establishing a colloquial reality between the derived creature and the creator...........................................
.......................................But we cannot believe in man without being, without meaning, in the existence of wild man, in prehistoricism, because then the wandering man corresponds to what Chesterton calls the gossip of the gods. Thus we pass from the phallic to the totemic, from the ceremony of the wheat harvest to that of the eternal purification of metals. Faced with this charlatan Olympus, man believes he can---------------------
Excluir-------------------------unloaded in the instant, that fugitivity can only be bound by the violence of the onslaught. This man of prehistoricism has close ties to the Prussian free man. Because freedom only has meaning in God, for God, in act for act, and as long as man wants to act without being governed by meaning in time, the subtle fabric of secret history, what we can call the silence that is realized, is unknown.
ExcluirChesterton never shied away; he always threw himself into the pool of frenzied participation. His infatuations with the German-style freeman and the prehistoric savage surrounded him with a joy that was the enemy of a smile, but since the Middle Ages, a fat joy has been preferable to a Pyrrhonian smirk. It was only during the Renaissance that the smile became a sodomitic crossroads. Chesterton offered the classic solution to joy by shattering the enigmatic smile, surrounded by Leonardesque rocks. He worked within the great tradition of revolutionary common sense. It is true that he suffered more from a liquid thickness, from a central weight, than from the subtlety that awakens in the oscillations of the flame, perhaps because he voluntarily wanted to avoid Leonardo's advice: paint the shadow with a fine brushstroke..........................
Excluir..............................
ExcluirI don't know if, in the throes of seeking innocent blood, he would have slit his sons' throats. Nor do I know if he would have done so, if God's will would have restored them to him in a miracle of health, as in the medieval times of the knights Oliver and Arthur, who constituted the golden substance of his childhood memories. But if some of his friends, those who had heard him during the hours of beer and at the hour of receiving the news of his brother's death, fighting alongside France in the other war, affirm that he must be in heaven, we will continue to see him in the preparation of that slow, constant, invariable, secret revolution.
.............. we will continue to see him in the preparation of that slow, constant, invariable, secret revolution. of Catholicism. He passionately sought unanimous substance and swam in the opulent joy of the mantle of the blessed, receiving a powerful health from the divine unity contemplated. And qualibet parte itineris de Deo, copited actu. And knowing the itinerary of God, he knew in act for the Act.
ExcluirSecret revolution of Catolicism
ExcluirPost script
ResponderExcluirTHEORY OF ENTHUSIASM
ResponderExcluirhttps://teoriadelentusiasmo.blogspot.com/2010/09/apocrifas-morellianas-1.html
The Hidden Side of HOPSCOCK. By Jorge Fraga
September 10, 2010
Morellian Apocrypha (1)
·
Love's charm, who could paint you with words! That conviction that we have found the being that nature had reserved for us, that sudden dawn that unfolds over life and seems to reveal its mystery, that unknown value we give to the smallest circumstances, those swift hours, whose details escape memory because of their sweetness, and which leave in our soul only a faint trace of happiness, that playful joy that sometimes mingles without reason with habitual tenderness, so much pleasure in presence, and in absence so much hope, that detachment from all vulgar matters, that superiority over everything that surrounds us, that certainty that from now on the world cannot reach where we live, that mutual intelligence that divines every thought and responds to every emotion, charm of love, whoever has known you does not know how to describe you!
·
Benjamin Constant, Adolphe
Post script
ResponderExcluirBy Lezama Lima in ANALECT OF THE CLOCK
X.— Since you agree with me, out of courtesy, I will correct myself. We erased the Greeks too soon. The sunbeam has ----------------------
--------------------------------faculty of divination, in whom this solar nature can clearly touch life or death. When Apollo isn't used against Jupiter, he has the sun's ray of foreboding. When he goes against Jupiter, he is forced to be king of shepherds, to inspire temperance. But beyond Mallarmé's island, nestled between a phrase and a suspension, there is also the breeze. The Greeks granted the breeze all its merits and extensions. The cold Zephyr, when it touches the open mouths of mares, engenders swift horses that live very little. Exactly the same as Euphorion. The unevenness of temperature becomes creative due to the speed of the wind they receive. As in Genesis: a great wind rippled the waters. This helps us place the poetic sentences of the Greeks and those of later generations at an unequal height. In the other tradition, which is no longer Greek, calling the wind a struggle of young men is the violence of a cultured man. But for a Greek, whose mythology gave him the twelve imprisoned winds by order of Jupiter, it was a graphic phrase, without any resonance.
ExcluirBy Lezama Lima in ANALECT OF THE CLOCK
ResponderExcluirBut I see that he's beginning to touch on a design that's too obvious, and he had promised us the insular as a theme of culture. That is to say, what in the sphere of thought is called paradox; what in morality is an adventurous deviation, in the terrestrial is called an island. The Greeks used custom as a backdrop, but they recognized the subject's ability to deviate, to hold opinions that deviate from culture. So much so that if they spoke of a theory of fish, in the sense of a parade, they were alluding to the form of thought they most desired. But another of their forms of knowledge is the furious or erotic, that is, when Socrates covers his head with a cloth so he can freely evoke Venus Urania. This other paradoxical way of thinking is more than it seems to be a source of security. It presupposes, first of all, a mass of opinions, a custom that thinks like health---------------------