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Between 'I love' and 'I loved' lie the whole spoil of the heroes of the ages of the world.-- 'per sublimia cum feror, nec ullum do signu, reprimens in ore covem index perspicua serenitatis, purum nuntio solis orbe caellum.' [Lauterbach in Collegium Palthenianum Aenigmata] But which is given to truth? No eye is truly acquainted with beauty, without being accompanied by the timber of indifference, and well-nigh contempt for everything to which the beautiful object bears no significance. And it is solely through infatuation, the unjust closure of the eye vis-a-vis the antagonism raised by 'everything which exists, that justice is done to what exists.' The eye which loses itself in something which is beautiful, is one of the Phorkyad. 'It rescues in the object something of the peacefulness of its day of creation,' which in the antagonism raised upon it by the universal is otherwise eclipsed: In serendi modum partim casus, ut pleraque artes; partim aves docuere. [Celestino in Innocentia Vindicata] However if this prejudice is sublated by a consciousness of the universal imposed extraneously, if the beautiful is harried, and weighed up in appropriations, then the just view of the whole makes the universal injustice, which lies in subrogation and currency, its own. Such justice turns into the guarantor of Olympia upon Helena. Is not the tendency of philosophy to raise certain common place notions, as goodness or truth, above the practical into objects of unnecessary conviction also evident in, for example, literary theory or religious disputation? Verily, Linnaeus might dawn the name of Homer in Ceos. Yet this, the raising of the commonplace into objects of unnecessary conviction, -- this is precisely what ethics is not. Nothing is true in ethics save the trifling. Hymen is perpetually above the sexual; just as pain is perpetually above the moral. Aphrodite may bless all the earth, only not the Beautiful; for Aphrodite is the same as Seilenos. The nature of that to which we ascribe beauty, which may be extrapolated only by recourse to the universal, to the daily and lived experience in which it is presented to us, in all of its triviality, in which antagonism is wrought towards it, plays the role which one would like to ascribe to the continuity of feelings designated by the word 'infatuation.' A Cleopatra with the soul of Isis lives and works in the world. 'The foolishness of a youthful enthusiasm, by which a beautiful girl is made inaccessible, is not based upon any inhibition whatsoever, nor in too much coldness or in the cynicism of an overly repressed warmth, but because a relationship already exists between him and her, which excludes a new one, which excludes a relationship which embraces universality as the very essence of her beauty. The imminent awakening of the lover 'is poised, like the wooden horse of the Greeks, in his Troy of dreams. The revelation of the human predicament and of the catastrophe of world history; its meaning, deciphered, is precisely what Cephalus calls 'the hopefullness of the passing away of things,' the vultus lumine. [in Manso's Erocallia.] Holderlin writes of the emptiness of this transfiguration: 'And yet with holy night the father will veil our eyes, that still we may not perish. Power expands but cannot suborn heaven.' The lowliest of botanical sciences studies the lily amongst lilies, the formation of the very flower,' just as common politics studies man amongst men, in short, the formation of a state.' 'How can we be fair, kindly, and humane towards others, let our dictums be as praiseworthy as they may be,' if we can not extinguish measureless pride as we would a raging fire, and 'lack the capacity to make strange natures genuinely and truly a part of ourselves, to appropriate strange situations, to make strange feelings our own?' Perhaps redemption has already begun the moment we begin to take kindness for others as the fitting measure of our deeds. From a patrimonium generis humani and a fiction of neutralized upbringing we are touched by the pantheon of classicism, by 'strange old lusts for deed,' by echoes of a metaphysics of the ethical that we long ago relinquished to dream: ta phainomen suzein. 3 The admonition of dreams has always been mediated by word or image, thus its greater strength has already ebbed away, the strength with which it strikes us at the heart and compels us, 'though we scarcely know how, to act in accord with it.' This moment is the Geramantian plow, beneath which fate is to be turned. The greatest consolation in human nature is therefore, paradoxically, the smallest guarantee and Empedoclean tear. What would righteousness be that was not measured by the immeasurable terror at what it is? Atalante's peril is become a wedding. To change a threatening future into a fulfilled now, - this is the work of a bodily presence of mind, a Prometheus Vinctus and labor omnia vicit, even as 'he to whom destiny speaks loudly has the right to speak yet more loudly to destiny. ' What, in fact, is man before his God? He is incapable of judging the nothingness from which he was born towards the infinite in Nature. This 'Holy Hypochondria,' this anxiety of the creation belongs however to a fundamentally different world from the nothingness, from the mataiotes which it apprehends. The question of whether it comprehends that which it apprehends, cannot be regarded as a criterion of its value. Just as a mother is seen to begin to live in the fullness of her life only when the circle of her children, inspired by the feeling of her proximity, closes round her, so is the nothingness of the creation seen to be truly a concern for the living, only when the triumphs of the anxiety which it incites are gathered in spite of it. When the God, that the saint receives and suffers, liberates the mystic world from the world of Ideas, he then again and again finds himself subjected to the ‘victorious powers of life’ and, like the zodiacal creature, in which the telluric planet 'Saturn' stands, falls prey to that strong worldliness, whenever he calls out in search of his God 'non coerceri maximo, contineri tamen a minimo'. One of the most powerful sources of this symbolism flows from myth: in the superhuman type of the Redeemer, the hero represents mankind through his work on the starry sky. The primal words of the Orphic poem apply to him: it is his amalgmata -- his star-lit sky; his nyx, the one that is as changeable as the moon; his destiny, ineluctable like the seaward tethys. The saint is never abandoned by himself; he may always elevate himself as far beyond himself as he wishes. He alone may, upon the ladder of the law, fall upward as well as downward. The latter is prevented by ataraxia, the flexible spirit, the former by the weight that lies in the tranquil presence of mind. The capacity for the Saint to remain moral, that is, subject to the 'victorious powers of life,' requires both strict inner discipline and unscrupulous external action; in the words of Paulus Melissus, servata in isto celibatu virginitas mihi tum perennis. This practice brought to the world a Zaddik, a spiritual sovereignty matched in its ambiguity only by that fierce aspiration of the 'will to power.' Such a perfect conception of conduct on the part of the Zaddik awakens a mood of mourning in the creature stripped of all naive impulses. And it is precisely this mood which obtains to the paradoxical demand for saintliness on the part of the Zaddik. The disillusioned insight of the saint is just as a profound source of woe to him as it is for others, due to the use of which he can make of it at any time, as it is expressed in Gabriel Rollenhagius in the Musæo coelatorio Crispiani Passæi, "Esse pius cupis hunc saltem adspice quisuit oli tu quod es, et, quod eris, mox erit ipse, cinis." In this woe do we have the true Posidonian pathetikai kineseis. This quite simply figurative transformation of saintliness to the 'victorious powers of life' opens the point of departure for the unlimited compromise with the world which is characteristic of the Zaddik, his infinite mourning towards his peoples, and his forsaking the devekut. However, inspiration is probably the best tranquility and presence of mind for the saint, if it is authentic, clear, and strong. It is the spirit's bridle and spur. As poetic inspiration, ataraxia was a quieting force, akin to the Socratic virtue of sophrosune. Hence, even prophetic dream, as the hallmark of the inspired saint, is to be seen as descending from astromantic slumber in the temple of the ages, and not as sacred or even sublime inspiration. For all the wisdom of the saint is subject to the amalgmata; it is secured by immersion in the nyx of creaturely things, and it hears only of a destiny as ineluctable as the seaward tethys, and nothing of the voice of revelation. -- Numinibus gentes pulvinos sternere vanis sunt foliti, sed cur? ut bene forte cubent: en se deplumant Aquilae, pennasque saggitis Arctous curbo detrahit ungue LEO: his mollem PACI gaudent consternere lectum, candida sed perflant lilia odore thorum. Hinc Asmodaei valeat procul ira nefandi, ne porro thalami pignora turbet eris. [Triumphus Pacis Osnabruggensis Et Noribergensis : Heroico carmine ut plurimum adumbratus by Johann Ebermaier.] The saturnine nature is borne down into the depths of the Earth and, for the saint, the wisdom of a certain Triptolemus is preserved. For the saint the astromantic inspirations of mother Earth dawn from the night of contemplation like treasures from the very interior of the earth; the lightning-flash of intuition is unknown to him. What is the beautiful? Ut lyra Threiicio concessit carmina vati. [Operis Kluepfeliani De vita et scriptis Conradi Celtis Protucii ] The Thracian's promise of blindness. Though Grotius would attempt to present the tragedy of Christian man in the Greek style, and show that the Senecan tragedy is reducible to comedy in light of God's grace, it is neither in humor nor tragedy that beauty can be grasped verbally. Neither guilt nor innocence, neither nature nor the divine, can be strictly differentiated for beauty. The tears of emotion, in which the beautiful is veiled, are at the same time the genuine veil of beauty itself. For emotion is precisely that transition in which the semblance - the semblance of beauty as the semblance of akrasia - once again dawns sweetest before its vanishing, cur fertur falso cythaerea profundo quod sit amans semper sudore insperus amaro, .. haec rediens caeso Melyboeus cornua ceruo aeternum posuit tolerandi infigne laboris. [Pittorio in Pictorii Sacra Et Satyrica epigrammata] It is not that emotion which delights in itself, but only that severe emotion, that furore, in which the semblance of akrasia overcomes the beautiful semblance and with it, finally, itself. That lamentation, so full of tears: that is emotion. The mourning and pain of the Saturnine, as the tears that are shed for the continual decline of all life, form tired raptures; it is the life of the cicada, which, without food or drink, sings until it dies: domici sed talia reddit donci eterno maneat hoc carmine scriptu iam crucciam patulis. [Hieronymus Vallibus in Jesuida] A questionable insight begins to surface in virtues such as the capacity to vouchsafe and enjoy the beautiful, even in what is most mundane; this insight is, namely, the significance of what is nearest, what is inside and around us. Once, in the akrasia of an effluent subjective plenitude, emotional indifference in relation to the choice of the beautiful object, as well as the willpower to avulse meaning from the whole family of experiences belonging to it, expressed the relation to the objective world itself, a relation which confronted the subject antagonistically, but with a certain kind of antagonism, namely, that one responsible for introducing shame, in the primitive, the pseudo-erotic and pre-christian guilt, and down to all of its fragments, as it were, draping the beautiful with that veil necessary to distinguish it from that merely daemonic infatuation with the body, or with the object itself. In a phase when the subject relinquishes before the alienated theosophy of things, its readiness to vouchsafe what is everywhere beautiful, opens the way towards Theognis's ainos and Aithon, a resignation of critical capacity as much as of the interpretive imagination inseparable from such, that imagination in which the transition of the semblance of beauty as the semblance of akrasia is played out through emotional concern, through a gaster, on behalf of the beautiful object. The semblance of beauty and the semblances of akrasia, these are the two poles of the the erotic realm, and logos, through their illusory synthesis, generates the erotic impulse in which the genuine synthesis, that of life, is imitated. However, the speculation of this consciousness, which clings to both the beautiful object and the resignation of the beautiful under the universal, intimates nothing more than the alienation of a natural morte as mythos. The Saturnine's unfaithfulness towards man is matched by a fidelity for the continual decline of all life, in which he is absorbed into those objects of his contemplative devotion. In other words, all essential decisions in relation to man, by virtue of the fact that they involve akrasia, can offend against the saturnine fidelity: for these decisions are subject to the higher laws of morality, sed Apolline verior heis sum et loquor ante rata restifica ta fide. [Melodaesia: sive epulum Musaeum in quo praeter recens apparatas, lautiores iterum apponuntur quamplurimae de fugitivis olim Columbis Poeticis : et una eduntur ludi Juveniles Martinalia & Bacchanalia : cum productione Gynaecei] Faith is only completely appropriate to the relationship of the Zaddik to the world of nature. The latter knows no higher law, and faith knows no object to which it might belong more exclusively, that is to say without involving the akratic self, then nature. Georgius Macropedius used to speak of the irredeemability of things, that churlishness of nature, which in the end allows a little worm to survive in the fruits of saints; " Caulae gregum, pecudumque, stabula plean sunt, pascua laetisima, adeo ut amplius nil postules. Nam tanta copia fructuum est, ut in horreis tuis uel apothecis recondere nequeas." 1 This persistence which is expressed in saturnine fidelity, is born of its intention towards nature. This is how we should understand that recreance which is attributed to the Zaddik, and this is how we should interpret that completely isolated dialectical contrast, that 'faithfulness in innocence,' which Giacomo Leopardi ascribes to saturnine nature, "It is not good for the innocent to search into nature's secrets; and random suffering cancels all such unripened knowledge." Faith is the dance of the akratically descending levels of intention which reflect the appropriately transformed ascending levels of intention of neo-Platonic theosophy.
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