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Mlazma vs. šizma



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It is usually thought to be very clever to say that Faust finally becomes a Don Juan, but this means very little, since the real question is in what sense he becomes one. Faust is a daemonic figure like a Don Juan, but higher. The sensuous first becomes significant in him only after he has lost the entire preceding world, but the consciousness of this loss is not erased, it is constantly present, and he seeks therefore in the sensuous not so much enjoyment as a diversion of mind. His doubting soul finds nothing in which it can rest, and now her reaches after love, not because he believes in it, but because it has a present element in which there is rest for a moment, and a striving which distracts and diverts his attention from the nothingness of doubt. Hence his enjoyment does not have the cheerful serenity which distinguishes a Don Juan. His countenance is not wreathed in smiles, his brow is not unclouded, and happiness is not his companion; the young women do not dance into his embrace, but he frightens them to him. What he seeks is not merely the pleasure of the sensuous, but what he desires is the immediacy of the spirit. As the shades of the underworld, when they got hold of a living being, sucked his blood, and lived as long as this blood warmed and nourished them, so Faust seeks an immediate life by which he can be renewed and strengthened. And where can this be found better than in a young woman, and how can he absorb it more perfectly than in the embrace of love? As the Middle Ages tell of sorcerers who understood how to prepare an elixir for the renewal of youth, and used the heart of an innocent child for that purpose, so is this the strengthening potion his starved soul needs, the only thing which is able to satisfy him for a moment. His sick soul needs what I might call a young heart’s first green shoots; and with what else shall I compare an innocent feminine soul’s first youth? If I were to call it a blossom, I should say too little, for it is more, it is a flowering: the soundness of hope and faith and trust shoots forth and blossoms in rich variety, and soft impulses move the delicate shoots, and dreams shade their fruitfulness. Thus it affects a Faust, it beckons to his restless soul like a peaceful isle in the quiet sea. That it is transient no one knows better than Faust; he does not believe in it any more than he believes in anything else; but that it exists, of that he convinces himself in the embrace of love. Only the fullness of innocence and childlikeness can for a moment refresh him. :fantom: ... prokleti činovnik. :yucky:

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Ali, we understand, then, the paramount value of the concept of Heaven in Nishi’s thinking. I examine it through his text,「教門論」(On religion) 1–7 published in 1874 (M. 7) in Meiroku zasshi 『明六雑誌』, a review created in 1873 by Mori Arinori to stimulate discussion and promote the movement of Enlightenment. Nishi was one of its most active authors. Let us note in passing that, in 1873, the Meiji government revoked the prohibition of Christianity; this accounted for a certain number of authors treating religions in the 1874 issues. The text starts with the following sentences:Religion is founded on belief (shin 信); it takes up roots in what is not possessed by knowledge. When one can know a thing, one has its Principle, however when one can neither possess nor know, one believes the unknowable only starting from the assumption whose foundation is what is known. Its Principle is thus not possessed [of the unknowable]. And so, the belief of common people who consider a tree, a stone, an insect or an animal like a divinity (kami 神), as well as the belief of scholars who believe in Heaven (ten 天), in Principle (ri 理) and in the Lord on High (jōtei上帝), is belief without knowing. In spite of the divergence in these beliefs, the reasons are the same.

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