The following excerpts from the journal article 1890s Zionism reconsidered: Joseph Marco Baruch attest to the sublimity of this Hebraic D'Annunzio, who sadly killed himself in 1899: Baruch was a Turkish-born Frenchman, whose Zionist conception was independent from, yet nourished by, Central and East European Zionist trends. Geographically, his activism was not limited in scope and was well received in a variety of European and Mediterranean contexts. Conceptually, his social vision juxtaposed political action and an affirmative Jewish identity that called for a distinctly Jewish/Hebraic society positioned among a panoply of other nations. This contrasted with a Herzlian "liberal utopia" largely devoid of Jewish content. . . . Of passionate character, Baruch was given to singing songs about "Carmel" (presumably the mountain) and composing poetry in French. But he was also prone to more belligerent behavior, frequently engaging in both verbal and physical confron...
"Wherever the spirit would go, they went, and the wheels rose along with them; for the spirit of the living creatures was in the wheels."
ReplyDeleteIt is interesting that you quoted this passage.
You may know Alexander Isaievitch Solzhenitsyn wrote a great number of volumes on the bolshevik revolution entitled the "red wheel" where the wheel i.e. the machine is in fact seen as crushing men, and spirit. In Ezekiel's vision everything is being reversed. Spirit dominates matter. In fact this reminds me of a little known text by Vassili Grossman, one he wrote after having contemplated the famous work by Raphael (http://www.skd-dresden.de/media/300_sixtina.jpg) before it being sent back to Germany in 1955.
If you read french:
"Un récit de 1955, La Madone Sixtine, livre une clé pour l'oeuvre : le tableau de Raphaël, tant aimé par Dostoïevski, fut exposé à Moscou avant d'être restitué à Dresde. Staline inspecte le tableau en caressant ses moustaches. Grossman à son tour s'approche du tableau et voit la jeune Madone au regard si triste, l'enfant si grave, il aperçoit « la force d'esprit qui se matérialise », une énergie qui se fait chair et qui inverse la découverte d'Einstein, il voit Treblinka, Kolyma, toute son oeuvre future."