Divine Actors, Pomotextuals, and Drama Queegs
HvB writes that "man, fashioned by the Logos, is essentially constructed along dia-logical lines," so that "any mono-logical interpretation is bound to destroy him." This would include the diverse mono-logues of materialism and false religion.
In fact, this is where the extremes of new age integralism and crypto-Marxist Obamism meet in the muddle. For both negate the real person, who specifically becomes real in light of the Absolute. The former dissolves the person into pure spirit, while the latter dissolves him into matter and/or the collective.
(Some idiot left a comment wondering how a Subgenius could hold my political views. The real question is how one could not hold them, since a mono-logical, flatland existence is intrinsically devoid of Slack. If God does not exist, then Slack is pure illusion.)
I'm mixing up my volumes here, because the Theo-Drama makes so many provocative observations along these lines. So many, that I don't see how I'll ever be able to trancelight them into blog posts. In fact, I'm thinking of writing the next book as a kind of Raccoon/Subgenius playgiarizarion of Balthasar. For me, the problem hasn't been writing another book. But I don't want to just toss another stupid book onto mankind's mountain of pseudo-intellectual or pneuma-babbling vanities. Rather, if I'm going to do it, I want it to be about everything and for all time.
With the first book, my inspiration was Finnegans Wake, which is a kind of closed and yet infinite circle embracing the entire insane (and occasionally sane) collideorescape of history. But now I need a bigger circle. In Balthasar, I think I've found one sufficiently large for my purposes.
Which, when you think about it -- don't worry, I'll stop talking about myself in a minute -- returns to the absurdity and insufficiency of any empirical, materialistic, positivistic, scientistic, or Darwinian view of man. If that is the tiny canvas upon which I am supposed to work, I couldn't even begin. It is analogous to putting someone into a lightless little box and asking him to produce something true and beautiful. Impossible.
No, in order to properly live our lives at all, we need the largest possible canvas. And in my ongoing Adventure in Christianity, I'm discovering that this is the biggest canvas there is. Or at least the biggest one I've found. For in this inword adventure, we get to live our finite life in the light of an infinite Absolute who confers absolute meaning upon it.
Every alternative comes up short of this, and is "boring" by comparison. And one reason it is boring, is because -- as HvB is at pains to point out over the course of some 3,000 pages of Theo-Drama -- it is specifically drained of drama.
For example, take the metaphysical Darwinist. His life is devoid of drama, I suppose with the exception of whether or not he will reproduce, or even just get a date on Saturday night. Thus, I suppose this could confer a kind of faux-drama, or at least urgency, upon Queeg's objectively meaningless life. Will he leave behind a little liztard to carry on his meaningless genetic line? Or will this be it?
But even in the unlikely event that he is "successful," what's the point? He's just kicking the empty genetic can down to the next generation. And not only that, but once you realize that the whole thing is just a trick of the genes, why pursue it at all? Why not just be an obsessive and slightly paranoid computer geek, and stay away from the ladies?
In other words, women aren't really "beautiful." Please. They just appear that way in order to trick us into having sex with them. Once you've seen through the ruse, then you're free to ignore nature's deception that we erroneously call "female beauty." To say that beauty is "beside the point" is literally true, the point being to deposit genetic material into them.
Once you have successfully eliminated the transcendent, then you have taken away any basis for real drama, which can only occur on the "stage" between us and our Creator. For the essence of the drama is the dialectic between finite and infinite freedom. Here is the question and task every human being must face: how do I imprint as much of the absolute as possible in the finite time given? How do I write eternity with these clumsy crayons of time?
Can it be done? Of course it can be done. But it can again only take place in the space between the scylla of materialism and the charybdis of pure mysticism. In the case of the former, both drama and history are reduced to nature. In the case of the latter, they are dissolved in illusion, and have no ultimate value whatsoever. But anyone can look into the eyes of his child and know damn well that he has infinite value.
The other possible non-drama in which to play out one's life -- for in the end, there are only these three possibilities -- is post-Christian Marxism in one of its many guises. And when I say "post-Christian," the operative word is "Christian," for everything from Maoism to Obamaism is just a Christian heresy, specifically, a counter-drama which displaces the conflict between finite and infinite freedom to the plane of a materialistic-messianic hope, in which everyone will have the same amount of stuff.
But then what? The only drama takes place in the illusory hope that this would actually do anything to resolve the paradox of human existence. All the world is just a stage in the Marxist dialectic.
We see quite vividly how this de-Christianized messianic hope has been transferred to the ridiculous figure of Obama, who indeed plays the part for all it is worth (which is ultimately nothing, once the lights of the political theatre come back on). But for those of us who are not sitting in the dark to begin with, the whole sad spectacle is simultaneously pathetic and alarming, for we are seeing this Christian heresy embraced not only by those who hate God, but by so-called Christians as well. Madness!
So there are modes of existence that borrow from Christian theo-drama -- e.g., Marxism, "progressivism," "climate change," Obamism -- and there are modes which destroy the drama up front -- e.g., existentialism, hedonism, Darwinism, the pomo schtick of deconstruction, etc.
If there is drama, there must be fulfillment, as any playwright knows, i.e., conflict and resolution. In the case of our little drama on the stage of the herebelow, the primary conflict is again this persecutory combination of knowledge of the Absolute and of Death. In other words, mankind is condemned to the Absolute if only by virtue of his knowledge of Death, which appears on the stage as a kind of absolute horizon. How can we simultaneously possess absolute knowledge but not be God?
Again, there is your drama! For your mission, should you choose to accept it, is to assimilate as much of the absolute as possible within the allotted time, for everything else will go up in flames faster than Obama's economic policies.
The monuments of those who "make history," only express a desire that is equally that of the insignificant and the powerless: all alike want to scratch something true, something valid, into the face of the dwindling day. --Balthasar