Vredens Dag-1943
Based on a novel by Hans Wiers-Jenssens, Carl Th.Dreyer’s Day of Wrath remains an intense, unforgettable experience. The credits against the score of Dies Irae, chanted by a solemn choir on the background sets the tone. One might expect the film to be a moral play from a casual reading of the plot. Consider the plot: Anne, the young second wife of a well-respected but much older pastor, falls in love with her stepson who has come home. The film could easily have slid into the other extreme judging by the bare storyline. The film is not for those who approach a film to satisfy their prurient interests. Carl Dreyer is in full command of his material never swerving to please either. He leaves the film open ended and it makes it all the more compelling drama somewhat like Daphne du Maurier’s My Cousin Rachel. Was Anne similarly guilty or not is left to the viewer and there are no easy answers.
Set in Denmark in the 1600s Dreyer’s austere narrative does not let off the aged, devout minister, Absalon (Thorkild Roose) for marrying a far younger wife, Anne (Lisbeth Movin). His moral authority places him head of the religious council and in power over life and death of members of his parish. But is he what he seems to profess? All his professed piety is negated by his foolish May- December marriage. As the film progresses we know his gravity and condescending concern for her is more a manifestation of the aridity of his soul. He can well dispatch a helpless woman to her death who knows too well the circumstances by which he claimed the young bride. With her death the minister has merely bought time. None of his fellow clergymen shall know he conspired to release Anne's late mother, an accused witch, in return for Anne agreeing to marry him. This is the moral dilemma number one.
Abaslon's unmarried son (and Anne's stepson), Martin (Preben Lerdoff Rye) poses the second. In the final scene we feel with Anne in the manner her last remaining support is cut off. Martin is as much guilty of lust but having tasted stolen bread in secret, the gravel that he spits out is his lack of moral compass. He gives in too easily to ‘religion’ of his departed sire and superstition. The shot where Anne stands by her husband’s coffin abandoned and accused by her peers is all the more keenly felt since it is a commentary of Martin’s betrayal. It breaks her will so much as to let her tormenters do what will. But was she really guilty of Absalon’s death?
Whether Anne is really guilty or not is left unanswered as the scene in the first half where Absalon reveals about her mother. She was a witch who could with her powers work with the dead and the living to bring anything to pass. He shares this piece of news concerned that she as her child possessed the same powers, and in the perilous times when witches were hunted and burned she should be very careful. Next shot we see her enunciating the name of Martin clearly and trembling with desire. The viewer knows the name is spoken with all her being. Was it the desire of a woman awaiting for a physical union with one who is in his prime? Or is the cold power of a witch manifested here? In whichever case Martin responded because of his human fraility. Whether Martin answered her call on incantation or by his own physical desire makes him equally guilty. But he is not punished. Moral dilemma of man answering his natural urges or giving in to darker powers easily doesn’t let off the ‘witch’ or her victim easily. In other words,our moral lapses we cover with labels of demonic possession or witchcraft.
While largely Dreyer’s essay deals with a forbidden love triangle there are two characters whose formidable presence delineate the moral ambit of the three characters. Anne’s tragedy is what imposed by hereditary. Herlofs Marte (Anne Svierkier) at the beginning of the film comes to Anne in fright; her appeal for refuge is on the basis she is the daughter of a witch of her own coven. Anne in helping her has already placed herself on the wrong side of the powerful Council.
Marte who is accused of witchcraft knows society for what it is. She knows what beats behind the straitlaced minister and his ilk. She is unrepentant and is not taken in by the moralizing prig whose heart is all angles as sharp as the scythe of Death. She cries out "I fear neither heaven or hell; I am only afraid to die," and it is merely admission of her human fraility that is beyond pretensions or need for redemption. When she falls along with the burning stake it is as she falls on us. It is an unforgettable cinematic moment.
At the outset we witness an intimate domestic scene that is a commentary on the household. It is not Absalon or his wife but his mother who is in charge. She is a veritable Gorgon. Naturally Anne could not do anything right and when her mother-in-law accuses her of engineering her son’s death we are left with no doubt as to the motive. Mother of the minister and in her dress and conduct a matron of unassailable virtue she is unrepentant and unredeemed as much as Herlofs Marte occupying the other end of local community in Norway.
Filmed during the Nazi occupation of Denmark, Carl Dreyer’s Day of Wrath (Vredens dag) is a harrowing account of individual helplessness in the face of growing social repression and paranoia. Exquisitely photographed and passionately acted, Day of Wrath remains an intense, unforgettable experience.
Cast
Lisbeth Movin
Albert Høeberg
Preben Lerdorff Rye
Sigrid Neiiendam
Credits
Director Carl Th. Dreyer
Screenplay Carl Th. Dreyer
From a novel by Hans Wiers-Jenssens
Producer Carl Th. Dreyer and Tage Nielsen
Cinematography Karl Andersson
Editing Anne Marie Petersen and Edith Schlüssel
Music Poul Schierbeck
Memorable Quotes:
Rev. Absalon Pederssøn: There is nothing so quiet as a heart that has ceased to beat.
----
Martin: Shall we ever find each other again?
Anne Pedersdotter: Who shall prevent it?
Martin: The dead.
----
Anne Pedersdotter: I see through my tears, but no one comes to wipe them away.
Trivia
Though the film is outwardly a chronicle of a religious witch-hunt, it contained many subtler comparisons to the behavior of the Nazis (torture and questioning) and Carl Theodor Dreyer fled Denmark for Sweden where he remained until the war was over.
Dreyer
‘Much of Dreyer’s austerity in dissecting the frailities of human heart and psyche without sitting in judgment of moral compulsions he is more a coroner than a surgeon. Hysteria of witchcraft and heresy of 17th Century had given way to Eugenics and racial purity demanded by the Nazism. Looking at society conditioned by Luther or Calvin authority of the godly required scapegoats. The church leaders based their policy on the Holy Writ while the Nazis policy of lebensraum drew their own conclusions from Spencer and Darwin. Dreyer’s concern was for those who made up society, Everyman on whom was the burden of making the policy of powers- that- be work. In locating the areas of putrefaction he didn’t make them monstrous or innocent. Absalon, Jeanne d’Arc one mythical and the other historical, were victims of greater forces.
Dreyer’s upbringing was neither strict nor Lutheran. Born out of wedlock in 1889 to a Swedish servant (who died horribly a year and a half later trying to abort a second child), he was adopted by the Dreyers in Copenhagen, who gave him a nonreligious upbringing and whom he grew up despising religiosity. Absalon’s mother must have touched a familiar chord in him to make her as instrument of hatred masquerading as propriety. ‘The slow pacing is necessary for the intensity and the sexiness under the gloom to register. Freely adapted from a Norwegian play… Anne Pedersdotter that Dreyer had first seen in 1909, Day of Wrath looks today more cinematically advanced than any other movie released in 1943.
The film’s handling of period is unparalleled, achieving a narrative richness that may initially seem confusing. Set in 1623, when people still believed without question in witches, the film views that world from a contemporary perspective without for a moment dispelling our sense of what it felt like from the inside. Dreyer pulls off this difficult task through his singular style, involving a sensual form of camera movement he invented: the camera gliding on unseen tracks in one direction while uncannily panning in another direction. It’s difficult to imagine—a three-dimensional kind of transport that somehow combines coming and going in the same complex journey—but a hypnotic experience to follow. The film’s first real taste of it comes fairly early, when we follow Anne in her sinuous progress towards the torture chamber where Herlof’s Marte is being interrogated. The camera tracking with Anne around a pillar prompts our involvement while its simultaneous swiveling away from her establishes our detachment. And enhancing the strange sense of presence that results is Dreyer’s rare employment of direct sound rather than studio post-synching—giving scenes an almost carnal impact..’ (20Aug01
Figuring Out Day of Wrath- Jonathan Rosenbaum/Criterion collections, 20 Aug 01)
benny
Sunday, 3 January 2010
Saturday, 2 January 2010
Die Sehnsucht der Veronica Voss-1982
In a film where the eponymous heroine holds with her ‘feel good’ doctor the following dialogue :
Veronica Voss: You've given me a great deal of happiness.
Dr. Marianne Katz: I sold it to you.
one may be sure the film is going to be as dark as the soul of the dopefiend or of her ‘fixer.’ ''Veronika Voss,''is the second-to-last film of Rainer Werner Fassbinder. It is a chilly, tough, wicked satire set in Munich some 10 years after the collapse of the Nazi Germany. Fassbinder’s movies like ''The Marriage of Maria Braun'' and ''Lola'' deal with the economic miracle of Post-war Germany. The American ideal of ‘pursuit of happiness’ is imported as Hershey bar is, and practiced in the city in no holds barred struggle. Veronika Voss is one victim. We see beneath the façade of prosperity wounded creatures like Veronika Voss and Lola. Both are pawns. Lola the singer is the pawn of a corrupt contractor who has all the powers that be in his pocket except the idealistic but wet- behind- the- ears- goodness of the new City planner. Progress for the Slum Lord is in the he can spread his money around. The politicians and pillars of the society also see it that way. So Lola is there to corrupt the idealism that doesn't bring money to him in the way he wants it. He well knows the honest city planner shall be on his way, so Lola must entrap him. Whereas Veronika has the misfortune to fall in the clutches of an evil doctor. She peddles pleasure as indicated in the dialogue quoted above. Veronicka Voss (Rosel Zech), a once-popular German movie actress who is rumored to have been a close friend of Goebbels has not the staying power of a filmstar like Betty Davis or Joan Crawford. She is blond and something like a Harlowt (with t silent); and as far as her acting goes she is the type who cannot possibly survive, without some help like Goebbels. It was before the war.
In the Post War Germany an economic miracle is blowing across Germany and for her help comes in the form Dr. Marianne Katz.
When we first see Veronika Voss she is in a Munich theater watching her former self in an old movie, one in which she is surrendering to an evil woman doctor in return for drugs to support her habit. ‘As life sometimes imitates terrible movies, the story of Veronika Voss becomes much like the plot of one of her films’(quote: NY Times review-By VINCENT CANBY
Published: September 24, 1982)
Synopsis
While walking through a park, a chance rain drives Veronika Voss to the friendly Robert Krohn (Hilmar Thate), a sports reporter. He gallantly offers her protection at least for now from getting wet. He is one of the few people in Munich who doesn't remember her face or her name. Intrigued Veronika telephones Robert a couple of days later and asks him to meet her for tea.
At the restaurant, Veronika charms Robert as well as baffles him. As lighting in a restaurant she gives a hint of her ambience derived from her ‘dark self.’ As if to prove the point she says ''I like to seduce helpless men,'' and then borrows 300 marks from him to buy a brooch. She also proves her amoral side by whisking him off right in front of his live- in photographer who shall dearly pay for loving him unreservedly.
Veronika takes him to her country house where they make love and she reaches a kind of orgasm, given the clue of Fassbinder’s sexual predilections an anticlimax, she reveals her dark self. She is a morphine addict.
The rest soon falls apart from romance of an ageing coquette with a naïve sportswriter into the dark realms of mystery. There isn’t much of mysterywhen the has been actress doesn’t want to be rescued from’ her pursuit of happiness.’ The music and crisp black and white photography adds to the acidulous touch of Fassbinder. Since I had touched upon his Lola earlier I shall merely add ‘Lola’ is in color, and its psychadelic color palette still makes it black in its overall emotional intensity. I close this appreciation with a touch of regret that his genius was cut down in the middle of its full flowering.
Trivia: The film is loosely based on the career of actress Sybillie Schmitz. It is reportedly influenced by Billy Wilder’s Sunset Boulevard.
2.
Fassbinder has a bit part in the beginning of the film sitting behind Voss in a movie theatre and watching her old movie. Lilo Pempeit (also Liselotte Eder) who plays the manager of a jewelry store was Fassbinder's mother. Günther Kaufmann for whom Fassbinder earlier had an unrequited infatuation, plays in all three films of the cycle. In this one he is an enigmatic African-American G.I. Juliane Lorenz, seen in the brief role of a secretary, was a close associate of Fassbinder and the editor of this film.(Ack: wikipedia, NY Times Review)
VERONIKA VOSS, directed by Rainer Werner Fassbinder; screenplay (German with English subtitles) by Peter Marthesheimer and Pea Frohlich; director of photography, Xaver Schwarzenberger; edited by Juliane Lorenz; music by Peer Raben; produced by Thomas Schuhly; a production of Laura-Film/Tango Film in co-production with Rialto-Film/Trio- Film/Maran Film; Running time: 105 minutes. This film is rated R. Veronika Voss . . . . . Rosel Zech Robert Krohn . . . . . Hilmar Thate Henriette . . . . . Cornelia Froboess Dr. Katz . . . . . Annemarie Duringer Josefa . . . . . Doris Schade Dr. Edel . . . . . Eric Schumann Film Producer-Fat Man . . . . . Peter Berling G.I.-Dealer . . . . . Gunther Kaufmann Saleswoman . . . . . Sonja Neudorfer Her Boss . . . . . Lilo Pempeit
benny
Veronica Voss: You've given me a great deal of happiness.
Dr. Marianne Katz: I sold it to you.
one may be sure the film is going to be as dark as the soul of the dopefiend or of her ‘fixer.’ ''Veronika Voss,''is the second-to-last film of Rainer Werner Fassbinder. It is a chilly, tough, wicked satire set in Munich some 10 years after the collapse of the Nazi Germany. Fassbinder’s movies like ''The Marriage of Maria Braun'' and ''Lola'' deal with the economic miracle of Post-war Germany. The American ideal of ‘pursuit of happiness’ is imported as Hershey bar is, and practiced in the city in no holds barred struggle. Veronika Voss is one victim. We see beneath the façade of prosperity wounded creatures like Veronika Voss and Lola. Both are pawns. Lola the singer is the pawn of a corrupt contractor who has all the powers that be in his pocket except the idealistic but wet- behind- the- ears- goodness of the new City planner. Progress for the Slum Lord is in the he can spread his money around. The politicians and pillars of the society also see it that way. So Lola is there to corrupt the idealism that doesn't bring money to him in the way he wants it. He well knows the honest city planner shall be on his way, so Lola must entrap him. Whereas Veronika has the misfortune to fall in the clutches of an evil doctor. She peddles pleasure as indicated in the dialogue quoted above. Veronicka Voss (Rosel Zech), a once-popular German movie actress who is rumored to have been a close friend of Goebbels has not the staying power of a filmstar like Betty Davis or Joan Crawford. She is blond and something like a Harlowt (with t silent); and as far as her acting goes she is the type who cannot possibly survive, without some help like Goebbels. It was before the war.
In the Post War Germany an economic miracle is blowing across Germany and for her help comes in the form Dr. Marianne Katz.
When we first see Veronika Voss she is in a Munich theater watching her former self in an old movie, one in which she is surrendering to an evil woman doctor in return for drugs to support her habit. ‘As life sometimes imitates terrible movies, the story of Veronika Voss becomes much like the plot of one of her films’(quote: NY Times review-By VINCENT CANBY
Published: September 24, 1982)
Synopsis
While walking through a park, a chance rain drives Veronika Voss to the friendly Robert Krohn (Hilmar Thate), a sports reporter. He gallantly offers her protection at least for now from getting wet. He is one of the few people in Munich who doesn't remember her face or her name. Intrigued Veronika telephones Robert a couple of days later and asks him to meet her for tea.
At the restaurant, Veronika charms Robert as well as baffles him. As lighting in a restaurant she gives a hint of her ambience derived from her ‘dark self.’ As if to prove the point she says ''I like to seduce helpless men,'' and then borrows 300 marks from him to buy a brooch. She also proves her amoral side by whisking him off right in front of his live- in photographer who shall dearly pay for loving him unreservedly.
Veronika takes him to her country house where they make love and she reaches a kind of orgasm, given the clue of Fassbinder’s sexual predilections an anticlimax, she reveals her dark self. She is a morphine addict.
The rest soon falls apart from romance of an ageing coquette with a naïve sportswriter into the dark realms of mystery. There isn’t much of mysterywhen the has been actress doesn’t want to be rescued from’ her pursuit of happiness.’ The music and crisp black and white photography adds to the acidulous touch of Fassbinder. Since I had touched upon his Lola earlier I shall merely add ‘Lola’ is in color, and its psychadelic color palette still makes it black in its overall emotional intensity. I close this appreciation with a touch of regret that his genius was cut down in the middle of its full flowering.
Trivia: The film is loosely based on the career of actress Sybillie Schmitz. It is reportedly influenced by Billy Wilder’s Sunset Boulevard.
2.
Fassbinder has a bit part in the beginning of the film sitting behind Voss in a movie theatre and watching her old movie. Lilo Pempeit (also Liselotte Eder) who plays the manager of a jewelry store was Fassbinder's mother. Günther Kaufmann for whom Fassbinder earlier had an unrequited infatuation, plays in all three films of the cycle. In this one he is an enigmatic African-American G.I. Juliane Lorenz, seen in the brief role of a secretary, was a close associate of Fassbinder and the editor of this film.(Ack: wikipedia, NY Times Review)
VERONIKA VOSS, directed by Rainer Werner Fassbinder; screenplay (German with English subtitles) by Peter Marthesheimer and Pea Frohlich; director of photography, Xaver Schwarzenberger; edited by Juliane Lorenz; music by Peer Raben; produced by Thomas Schuhly; a production of Laura-Film/Tango Film in co-production with Rialto-Film/Trio- Film/Maran Film; Running time: 105 minutes. This film is rated R. Veronika Voss . . . . . Rosel Zech Robert Krohn . . . . . Hilmar Thate Henriette . . . . . Cornelia Froboess Dr. Katz . . . . . Annemarie Duringer Josefa . . . . . Doris Schade Dr. Edel . . . . . Eric Schumann Film Producer-Fat Man . . . . . Peter Berling G.I.-Dealer . . . . . Gunther Kaufmann Saleswoman . . . . . Sonja Neudorfer Her Boss . . . . . Lilo Pempeit
benny
Monday, 4 May 2009
Rock of Ages
In one of the recent speeches President Obama referred to Sermon on the Mount and his call for a house built on rock rather than on sand is thought provoking.
Bill of Rights like Magna Carta is a testament and it cannot set aside from the pulse of a nation. Nation is made up of living people and if such a testament cannot march in step with them it remains a dead letter. Thus President Obama is right in calling for a complete overhaul of American values. Take capitalism as a cornerstone of American enterprise. How does that connect with values of other nations? We are all part of a global village and this being the case, American capitalism needs to be built on something more permanent if it is to be worthwhile for others. "It is simply not sustainable," he said, "to have an economy where, in one year, 40% of our corporate profits came from a financial sector that was based on inflated home prices, maxed-out credit cards, overleveraged banks and overvalued assets." There the President put crapitalism in a nutshell. Are not Americans making their values impossible by disconnecting certain national characteristics from the times of the age?
The pioneering spirit of the backwoodsman is as different from the carpetbaggers or the robber barons of post civil war era. How can one reconcile Jay Gould the wily robber baron with Davy Crockett? Both are child of their times as Madoff is a symptom of a generation that tried to make greed synonymous with American values. Look how China reinvented itself under Deng Xiaoping. The Party had no difficulty in marrying off Communism with Capitalism and the New China is no more true than those who heeded the call of the Great Helmsman. Time is of the essence and national values are laid down by citizens who try to be relevant. We need to remember ideology becomes almost obsolete by the time it is written. Lenin could not have predicted his Worker’s Paradise would be bedeviled by Stalin and Trotsky. Yet bravely he worked himself to an early grave thinking his ideology shall live on. In China those who took part in Cultural Revolution and waved the little red book may have helped Chairman Mao silence his detractors, but were totally irrelevant to the march of events that made Market Socialism inevitable. Unlike Mao Tse Tung, Deng Xiaoping never held office as the head of state or the head of government, but served as a catalyst to bring to light the spirit of his times. His influence on his people from 1978 to the early 1990s was immeasurable. He was instrumental in introducing a new brand of socialist thinking, having developed Socialism with Chinese characteristics and Chinese economic reform, also known as the socialist market economy and partially opened China to the global market. He is generally credited with advancing China into becoming one of the fastest growing economies in the world and vastly raising the standard of living. Time made the change inevitable and those who switched the ships mid-sea didn’t bring new national values but they made their achievements as synonymous with the spirit of the times.
This is the Rock of Ages from which we develop our national values.
benny
Bill of Rights like Magna Carta is a testament and it cannot set aside from the pulse of a nation. Nation is made up of living people and if such a testament cannot march in step with them it remains a dead letter. Thus President Obama is right in calling for a complete overhaul of American values. Take capitalism as a cornerstone of American enterprise. How does that connect with values of other nations? We are all part of a global village and this being the case, American capitalism needs to be built on something more permanent if it is to be worthwhile for others. "It is simply not sustainable," he said, "to have an economy where, in one year, 40% of our corporate profits came from a financial sector that was based on inflated home prices, maxed-out credit cards, overleveraged banks and overvalued assets." There the President put crapitalism in a nutshell. Are not Americans making their values impossible by disconnecting certain national characteristics from the times of the age?
The pioneering spirit of the backwoodsman is as different from the carpetbaggers or the robber barons of post civil war era. How can one reconcile Jay Gould the wily robber baron with Davy Crockett? Both are child of their times as Madoff is a symptom of a generation that tried to make greed synonymous with American values. Look how China reinvented itself under Deng Xiaoping. The Party had no difficulty in marrying off Communism with Capitalism and the New China is no more true than those who heeded the call of the Great Helmsman. Time is of the essence and national values are laid down by citizens who try to be relevant. We need to remember ideology becomes almost obsolete by the time it is written. Lenin could not have predicted his Worker’s Paradise would be bedeviled by Stalin and Trotsky. Yet bravely he worked himself to an early grave thinking his ideology shall live on. In China those who took part in Cultural Revolution and waved the little red book may have helped Chairman Mao silence his detractors, but were totally irrelevant to the march of events that made Market Socialism inevitable. Unlike Mao Tse Tung, Deng Xiaoping never held office as the head of state or the head of government, but served as a catalyst to bring to light the spirit of his times. His influence on his people from 1978 to the early 1990s was immeasurable. He was instrumental in introducing a new brand of socialist thinking, having developed Socialism with Chinese characteristics and Chinese economic reform, also known as the socialist market economy and partially opened China to the global market. He is generally credited with advancing China into becoming one of the fastest growing economies in the world and vastly raising the standard of living. Time made the change inevitable and those who switched the ships mid-sea didn’t bring new national values but they made their achievements as synonymous with the spirit of the times.
This is the Rock of Ages from which we develop our national values.
benny
Tuesday, 7 April 2009
Dear Diary: entries #2-3
He who puts into the world which, he lives in more than he takes out of it, has the world indebted to him.
3.
Autobiography is going down the memory lane, walking ten feet tall in places where you crawled.
benny
3.
Autobiography is going down the memory lane, walking ten feet tall in places where you crawled.
benny
Monday, 6 April 2009
Dear Diary©
entry #1
A mind that can dream and hands that can shape the dream to reality; A man with such credentials would not be complaining of life passing him by.
benny
A mind that can dream and hands that can shape the dream to reality; A man with such credentials would not be complaining of life passing him by.
benny
Tuesday, 2 December 2008
Duality on A Wider Scale
Duality of life places man and woman as indivisible part of the same being. In the Mind of God from which every inspiration to do good resides they were as one. ‘Male and female created he them, ’so the Bible tells us. To this part I can wholeheartedly say ‘Amen’.
However in the same creation story we read of Adam’s rib and such like. I could explain it by making it as though an allegory. In the same fashion one may explain away every difficulty. To my rational mind it sounds travesty of Truth. If we believe The Bible is God’s word and inerrant, any double somersaults with Truth confuses the issue.
The Book is meant as reproof, instruction and also building up our lives. I know now in part. On this earth we are merely beginners. In the worlds to come we may grow in knowledge and it is more likely after we have put away this corruptible body we may see the Word with a different mindset. Then what we may be concerned shall have different emphases too.. Law was engraved on stone tables during the time of Moses and law writ in our hearts signify different stations in our upward growth. As spiritual beings we shall need no Book. 'To my curious mind I conceive notions of being a part of the same book. The congregation of saints in Zion has no Sun or Moon as such (rev.22:5) and no Bible either . But we are all pages, sentences, commas, parentheses and so on.' :
‘For the love of money is the root of evil; which while some coveted after…pierced themselves through with many sorrows.’Is this not sound advice for the year of the plague (economic meltdown is one such)? It is sadly human nature that the more street-smart we become we forget as many home truths as well. Do I think we would learn any lasting lesson from this global meltdown? I do not think so unless World governments are clear eyed and can sit together to enforce adequate controls for regulating the financial systems.
2.
Duality of man works its way outwards. Man is indivisible from nation and nations part of the whole. Exploiting any nation’s wealth by a superpower as we have seen repeated in Asia, Africa and in the Middle East is one way of digging the very foundation of that power.
Is not the very Bulldog like trait of Great Britain now more like a mongrel?
Benny
However in the same creation story we read of Adam’s rib and such like. I could explain it by making it as though an allegory. In the same fashion one may explain away every difficulty. To my rational mind it sounds travesty of Truth. If we believe The Bible is God’s word and inerrant, any double somersaults with Truth confuses the issue.
The Book is meant as reproof, instruction and also building up our lives. I know now in part. On this earth we are merely beginners. In the worlds to come we may grow in knowledge and it is more likely after we have put away this corruptible body we may see the Word with a different mindset. Then what we may be concerned shall have different emphases too.. Law was engraved on stone tables during the time of Moses and law writ in our hearts signify different stations in our upward growth. As spiritual beings we shall need no Book. 'To my curious mind I conceive notions of being a part of the same book. The congregation of saints in Zion has no Sun or Moon as such (rev.22:5) and no Bible either . But we are all pages, sentences, commas, parentheses and so on.' :
‘For the love of money is the root of evil; which while some coveted after…pierced themselves through with many sorrows.’Is this not sound advice for the year of the plague (economic meltdown is one such)? It is sadly human nature that the more street-smart we become we forget as many home truths as well. Do I think we would learn any lasting lesson from this global meltdown? I do not think so unless World governments are clear eyed and can sit together to enforce adequate controls for regulating the financial systems.
2.
Duality of man works its way outwards. Man is indivisible from nation and nations part of the whole. Exploiting any nation’s wealth by a superpower as we have seen repeated in Asia, Africa and in the Middle East is one way of digging the very foundation of that power.
Is not the very Bulldog like trait of Great Britain now more like a mongrel?
Benny
Saturday, 29 November 2008
Inspiration
The Galapagos archipelago is a group of volcanic islands situated under the equator created barely some 2.5 million years old. Being young its flora and fauna have helped scientists from all over to study evolutionary process that takes place at any ecosystem. Charles Darwin modeled his theory of natural selection from his extensive studies on that island. Finches blown there by a freak storm for instance developed into a separate species. The birds having developed a taste for worms from the tree trunks or mites from the body of turtles have their beaks modified for the specific purpose. They also are known to eat eggs rich in protein, which they break by dropping on the rocks below.
Marine iguanas are unique to the island. The species are some 5’(150 cm) long and larger than the iguanas found in South America. These marine iguanas specially feed on special algae that grow only on the rocks under water. It is essential for their growth. They can remain underwater for half an hour foraging their food. They have sharp claws that they use to hold on to the slippery rocks despite the strong currents. Chance may drive finches and iguanas to an inhospitable terrain but the skills acquired by them to make available resources adequate for survival speak of something else.
I do not mind if I sound being contradictory. I have no trouble with Science: the mind who shouts ‘Eureka’ does so under the inspiration of the Highest. Why? Archimedes, to give him a name, from a casual event of a bath found something else that could benefit whole mankind. The act of a bath in his tub must have held the secret always. Only what he needed was inspiration.
Similarly cannot God let a chance create universe as though it was ever meant to be?
Tailspin: what we call Chance is a cocoon from which certainty of life must burst through. Inversion principle works here. Which comes first chicken or eggs? Neither. Both are to be seen indivisible of life in its power. Duality of life and dissolution reconciled into one depending upon what you want to look at.
benny
Marine iguanas are unique to the island. The species are some 5’(150 cm) long and larger than the iguanas found in South America. These marine iguanas specially feed on special algae that grow only on the rocks under water. It is essential for their growth. They can remain underwater for half an hour foraging their food. They have sharp claws that they use to hold on to the slippery rocks despite the strong currents. Chance may drive finches and iguanas to an inhospitable terrain but the skills acquired by them to make available resources adequate for survival speak of something else.
I do not mind if I sound being contradictory. I have no trouble with Science: the mind who shouts ‘Eureka’ does so under the inspiration of the Highest. Why? Archimedes, to give him a name, from a casual event of a bath found something else that could benefit whole mankind. The act of a bath in his tub must have held the secret always. Only what he needed was inspiration.
Similarly cannot God let a chance create universe as though it was ever meant to be?
Tailspin: what we call Chance is a cocoon from which certainty of life must burst through. Inversion principle works here. Which comes first chicken or eggs? Neither. Both are to be seen indivisible of life in its power. Duality of life and dissolution reconciled into one depending upon what you want to look at.
benny
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