The genius and hubris of Christianity is the same: the allegorization of scripture. I will use the concept of exile as an example. Pascal writes: "All that is in the world is the lust of the flesh, or the lust of the eyes, or the pride of life; libido sentiendi , libido sciendi , libido dominandi ." Wretched is the cursed land which these three rivers of fire enflame rather than water! Happy they who, on these rivers, are not overwhelmed nor carried away, but are immovably fixed, not standing but seated on a low and secure base, whence they do not rise before the light, but, having rested in peace, stretch out their hands to Him, who must lift them up, and make them stand upright and firm in the porches of the holy Jerusalem! There pride can no longer assail them nor cast them down; and yet they weep, not to see all those perishable things swept away by the torrents, but at the remembrance of their loved country, the heavenly Jerusalem, which they remember without ceasing dur...
"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."