Watch the band through a bunch of dancers
Quickly, follow the unknown
With something more familiar
Quickly, something familiar.
Courage, my word
Didn't come, it doesn't matter.
Sleepwalk, so fast asleep
In a motel that has the lay of home
And piss on all of your background
And piss on all your surroundings.
Courage, my word
Didn't come, it doesn't matter
Courage, my word
Didn't come, it doesn't matter
Courage, couldn't come at a worse time.
There's no simple explanation
For anything important any of us do
And yea the human tragedy
Consists in the necessity
Of living with the consequences
Under pressure, under pressure.
Courage, my word
Didn't come, it doesn't matter
Courage, my word
Didn't come, it doesn't matter
Courage, my word
Didn't come, it doesn't matter
Courage, couldn't come at a worse time.
Thursday, May 30, 2019
Courage
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I suppose it's supposed to strike us as "gentle" and meekly "accepting," but to me it just sounds DEFEATED and EXHAUSTED.
This sort of thing reeks of SURRENDER before there is any attempt to FIGHT, and a PAUCITY of iIMAGINATION –– almost a DISMISSAL of genuine CREATIVITY, as though LIVING was just too much to BOTHER.
I can esily imagine this creature caught in a blizzard sweetly moaning in a disemodied soprano simply lying down in the mountng snow, eyes shut, gently waiting for herself to be frozen to death.
This –– to me –– is emblematic of the Left. Despite their incessant cursing, an veheent accusations, what they REALLY want is for Life, which they find a torment and a tragedy, to END asap. And that is why ALL their efforts lcannot help but ead in the dirction of DEGRADATION, DERANGEMENT, DESTRUCTION, DISSOLUTION and OBLIVION.
The Left HATES and REJECTS LIFE, itself. That must be why their so-called MEW-SICK extols, glorifies, celebrates, and promotes nothing but NEGATIVITY and all things MERETRICIOUS.
This song speaks of another type of "courage"
Even the most courageous among us only rarely has the courage for that which he really knows.
4 The error of imaginary causes. To begin with dreams: ex post facto, a cause is slipped under a particular sensation (for example, one following a far-off cannon shot)--often a whole little novel in which the dreamer turns up as the protagonist. The sensation endures meanwhile in a kind of resonance: it waits, as it were, until the causal instinct permits it to step into the foreground--now no longer as a chance occurrence, but as "meaning." The cannon shot appears in a causal mode, in an apparent reversal of time. What is really later, the motivation, is experienced first--often with a hundred details which pass like lightning and the shot follows. What has happened? The representations which were produced by a certain state have been misunderstood as its causes.
In fact, we do the same thing when awake. Most of our general feelings--every kind of inhibition, pressure, tension, and explosion in the play and counterplay of our organs, and particularly the state of the nervus sympaticus--excite our causal instinct: we want to have a reason for feeling this way or that--for feeling bad or for feeling good. We are never satisfied merely to state the fact that we feel this way or that: we admit this fact only--become conscious of it only--when we have furnished some kind of motivation. Memory, which swings into action in such cases, unknown to us, brings up earlier states of the same kind, together with the causal interpretations associated with them--not their real causes. The faith, to be sure, that such representations, such accompanying conscious processes are the causes is also brought forth by memory. Thus originates a habitual acceptance of a particular causal interpretation, which, as a matter of fact, inhibits any investigation into the real cause--even precludes it.
5 The psychological explanation of this. To derive something unknown from something familiar relieves, comforts, and satisfies, besides giving a feeling of power. With the unknown, one is confronted with danger, discomfort, and care; the first instinct is to abolish these painful states. First principle: any explanation is better than none. Since at bottom it is merely a matter of wishing to be rid of oppressive representations, one is not too particular about the means of getting rid of them: the first representation that explains the unknown as familiar feels so good that one "considers it true." The proof of pleasure ("of strength") as a criterion of truth.
The causal instinct is thus conditional upon, and excited by, the feeling of fear. The "why?" shall, if at all possible, not give the cause for its own sake so much as for a particular kind of cause--a cause that is comforting, liberating, and relieving. That it is something already familiar, experienced, and inscribed in the memory, which is posited as a cause, that is the first consequence of this need. That which is new and strange and has not been experienced before, is excluded as a cause. Thus one searches not only for some kind of explanation to serve as a cause, but for a particularly selected and preferred kind of explanation--that which has most quickly and most frequently abolished the feeling of the strange, new, and hitherto unexperienced: the most habitual explanations. Consequence: one kind of positing of causes predominates more and more, is concentrated into a system and finally emerges as dominant, that is, as simply precluding other causes and explanations. The banker immediately thinks of "business," the Christian of "sin," and the girl of her love.
--Nietzsche, "Twilight of the Idols"
This song is played at the end of the "Sweet Hereafter" movie referenced in the post below.
When a bunch of children are killed in a bus crash, a lawyer comes to town to find the deepest pockets to sue.... assigning "cause" to the deaths and attempting to make "meaning" of them for those survivors.
The girl in the video, now a parapalegic, lies... which makes the lawyers case "unwinnable" (as the lie told assigns cause to the driver, who doesn't have "deep pockets"). Now the families are forced to face the tragedy and their memories of those killed more directly, and not as a "windfall" for the survivors.
...And the Piper advanced and the children followed,
And when all were in to the very last,
The door in the mountain-side shut fast.
Did I say all? No! One was lame,
And could not dance the whole of the way;
And in after years, if you would blame
His sadness, he was used to say,--
"It's dull in our town since my playmates left!
I can't forget that I'm bereft
Of all the pleasant sights they see,
Which the Piper also promised me.
For he led us, he said, to a joyous land,
Joining the town and just at hand,
Where waters gushed and fruit-trees grew,
And flowers put forth a fairer hue,
And everything was strange and new;
The sparrows were brighter than peacocks here,
And their dogs outran our fallow deer,
And honey-bees had lost their stings,
And horses were born with eagles' wings:
And just as I became assured
My lame foot would be speedily cured,
The music stopped and I stood still,
And found myself outside the hill,
Left alone against my will,
To go now limping as before,
And never hear of that country more!...
...as for the losing lawyer, he has a daughter, who is an addict, always requiring more and more money for treatment, bailing out of jams, etc. It's the "why" he works... enabling her continued degradation and addiction. Money never "solved" his problems with her... just as it wouldn't have brought the children of the bus crash, or children of Hemelin, back.
So why did the "lame girl" lie? As can be seen from 1:15 to 2:10, she wanted to forever keep the incestuous "Piper" at her service.... the settlement money would only make it more difficult for her to keep his "personal" devotion intact.
Yes, it's a modern "Joycian" low epiphany. A different "Be"-cause...
A Leftist "Be"-cause...
A Leftist, anti-capital, "cause"...
But they are right on one front. Money isn't "everything".
How well I know that miney is not EVERYTHING, but it's still far ahead of whatever may be in secind place };-)>
AND, I feel copeeled ro add:
Money is of little use unless those who have it are taught to RESPECT i, CONSERVE it, INVEST it wisely, and not to WASTE it on vain pursuits and meretricious nonsense.
Assuredly you must know by now, I have been at war with nearly everything considered "modern," and certanly all things "POST_modern."
I stated the reasins for this as clearly nd succinctly as I could in my first comment above.
I read about The Sweet Hereafer, the film in question, and while I have to respect everyone's "right"to respond to events as he or she sees fit, i just can NOT respect the way we have come to WALLOW in MISERY –– Grief, Anger, Hopelessness, and what-i-sees-a-deep RESENTMENT of LIFE, itself.
I explined MY interpetation of the Pied Piper story as a PARABLE meant to teach the foolisness of grabbing at what-seems-to-be an EASY WAY OUT., and ho that most often is a TRAP that makes matters infinitely worse.
Nothng the twentieth or twenty-first centuries have offered thus far has caused me to abandon my staunchly determined faith in Eternal Verities revealed over millennia and brought to fruition in the late-eighteenth and early-nineteenth centuries.
The Machine Age, Darwin and Hegel-Marx and other non-Christian philsophers derailed all that, and put us back on a road to a new kind of savagery –– AUTOMATED.barbarism.
Unfortunately, our political class seem to spend our tax money on naught BUT meretricious nonsense. They can't even keep new rats from being piped in from OVER the borders.
Dot's abzolootlee RAT, Thersites.
And ain't it a shame?
}:^(>
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