A Song Meets the Story

We know power and its abuse, the ugliness that the ostensible beauty has hidden in its backlog. We preserve the ashes of ill-fated humans that callous power has burnt into. The skeletons of concentration camps witness the horrible enormity the power has assumed. Shakespeare had perfect intuition when he wrote the metaphor “as flies to wanton boys are we to the gods. They kill us for their sport,”7 to show our destiny. Man dies, dies like worms when confronted with a savage sovereignty.
It is alarming to see the story behind the story. In India almost all the people celebrate the ‘Deepawali’, a festival of light and vanquishing of the night that is too black. But, the story has its origins in the defeat of the Dravidians (a lower cast), by Arias. Dravidians are always pictured as blacks and demoniacs while Arias as whites and godly. Arias always kill and destroy the Dravidians that is celebrated as the victory of good over evil.
Bob Dylan’s Highway 61 is a song of embarking pathos and piquant rebellion. All the five stanzas have five different stories, travesty of man’s pointlessness. The first of the five run in this way:
” Oh God said to Abraham, “Kill me a son” Abe says, “Man, you must be puttin’ me on” God say, “No.” Abe say, “What?” God says, “You can do what you want Abe, but The next time you see me comin’ you better run” Well Abe says, “Where do you want this killin’ done?” God says. “Out on Highway 61”
Highway 61 is a speedy way where there is no trace of anything past. What happens there is pointless and unhistorical. It is thrown away place, liquidity of oblivion. God demands Abraham to kill his son, threatens when Abraham refuses. Abraham asks God where he wants it to be done, God commands him to do it in Highway 61.
Dylan wants to say that everything is a petty enterprise or fiddling sum of money for the mighty to entertain himself.
Is it the entire Abraham story? Is it all the books that gave birth to the indefatigable visions of Shakespeare, Milton, Tolstoy and Dante, communicate to modern man? Has this book lost its cantor and colour and thereby its own unique profile? How can we make our way back to Abraham’s story where all the elevated and universal pale into nothingness? For, that to we need to know all the fact and ‘facticity’ of the story. Harold Bloom said that it is not the facts that the authors of the old Testament care about but facticity: “a kind of brute contingency by which an author’s strength blinds and incarcerates the tradition of belated readership.”9
Kierkegaard is the philosopher who can break into the fact and facticity of the riddle. Steelier points of his vision can unravel the grandeur and uniqueness of Abraham. Fear and Trembling is a book to be read with fear and trembling.

A Brief Introduction to Søren Kierkegaard

Søren Kierkegaard (1813-1855) is a philosopher of high shape of thought, though unusually uneasy. He wrote some immortal philosophical books at the same time made philosophy or poetry out of his life. Kierkegaard’s many-faceted thought resists all the groupings and linear format of traditions and his way of writings are travestied with deliberate misgivings. He is like a rainbow that dissolves by the time we catch its colour or like tree planted upside down and grow where nothing else can grow. A thinker of such psychological acuity, huge literary talent and fertile imagination that he dwarfs anything that is not of eternity. In his hands Philosophy becomes supple poetry and poetry finds loftier grounds of intimations. He writes with an apocalyptical urgency and confessional frankness where impossibilities are narrowed and distances are vivid with rays of setting sun. His thoughts leave punctures in our heart, as if he knows the secrets of our failures.
It is not dogmatic certitudes that interwoven his style but a sphere of rigor and passions which enliven sunken human aspirations. He is a genius who happened to be a philosopher; if he were a musician he would have equalled Mozart, and Kafka if he tried hands in literature.

Vanity (not bag)

We all are vain about something. I was vain about my hair till I lost it but the vanity still lingers on.
A mirror piece on the road may stop someone to adjust his hair. I can’t bear people who are vain about their teeth, nothing is artificial as their smile.
Recently my friend wrote to me that she has forsaken all the vanities of life, especially the vanity of love. She made me to think about vanity. I’m not a big fan of Coreth’s vanity talk in Bible. Even Bible can assume a deceptive voice if we don’t really understand the intention and background of the author. In Indian philosophy Sankara speaks about vanity (maya). According to him vanity is the appearance. The movie, Matrix is an interesting study on vanity and real. According to matrix we are all living in a stimulated reality controlled by intelligent machines, these intelligent machines use us as their energy source. In oder to escape from this stimulated reality, one should know matrix. It is a gnostic movie. Gnosticism believes that we can redeem ourselves only through knowledge. The movie has lot of philosophical implications.
The what is Real? The Real is that which always comes back.
What should I say to my friend about vanity? One thing is sure we can’t stop playing the game. The game must go on even when we know it is nothing, because our redemption is in playing it out. Only by playing we can surpass its deceptiveness. Life and love may turn out to be useless passions and the greatest love will become skeleton of feeble memories. Still we need to live and love as though they are are eternal. Nagarjuna has perfect vision of it,”as long as you are able to distinguish between samsara(world) and Moksha, you are in samsara.” it means when we are in reality we don’t know vanity and when we are in vanity we don’t know what is reality.It is our judgments that defeat us.
So life and love are not vanities if we don’t expect too much from them. If we don’t expect anything from them, they will be kind us to show what is not vanity.