It was an ordinary commuter’s early morning on a platform at a train station. A train would arrive in 10 minutes, and the people whose faces were no stranger than those of my distant relatives were starting to gather on the platform, waiting for the second earliest morning train to carry us into our destinations of a new grateful day of livelihood or leisure or even escapade, maybe. Which might be the case of The Man and The Dog in this video I took as the train whistle was heard in the distance .
Life reminds me of a Baroque fugue; it begins with the exposition of a short melody, then develops into busy melodies and finally reaches a dramatic final entry in tonic. It is a continuous surrendering of the old and a trust in new beginnings with lots of in-between episodes, intricately interwoven by multiple strands of occasional chances called “luck,” failed expectations, and grace of hopes that creates a curiously riveting toccata. In this film by Kore-eda, Ryota’s life is a ballad of a soft troubadour, who wants to sing a happy song with his fractured but beautiful family.
Ryota, once a promising novelist, now a divorced middle-aged struggling writer, makes a living as a part-time private detective under the pretext of enriching his writer’s imaginativeness for his next best oeuvre. He loves his ex-wife and his son dearly, so he always hangs around them surreptitiously. But he does not understand that how he feels about them is unrequited because he is not in their lives any longer. In fact, Ryota is even unsure of himself, of his reason for writing, and of what he wants to become amid his dwindling writing career and growing distance from his already fractured family. There is a sense of drift in his life, that feeling of emptiness, loneliness, and disappointments, all fragmented in the detritus of broken wishes, unpaid dues, and lost dreams. He has nonetheless a heart of gold, and his humor is his saving grace that helps him get going. Ryota’s life has been in the doldrums for so long that he forgets he has to move forward to get out of the stasis binding him in the longing for bygone days. A stream of pathos oozes out to see Ryota thinking, ‘Who would have known my life would turn out like this?’
Director Kore-eda uses the storm, more accurately a typhoon, as a medium to free Ryota from the memories of the past, from the obsession of his past, in order to give him a new meaning of life, will to meaning. Kore-eda does a beautifully nuanced job of capturing the innermost feelings of the characters without elaborate lines or super-abudance of emotions throughout the scenes. It is a Japanese film, but the sentiments and judgments of the characters are rendered communicative to the hearts of the universal audience.
It’s 10 minutes before regular Saturday Vigil mass begins, and I am sitting on my regular pew, feeling responsible rather than faithful. I wonder if I am being irreligious or irreverent toward the existence of God and the observation of the ancient rite of faith that has been performed for a long thread of centuries from the Last Supper to this Modern Day of Social Media. For my trinity of Heart, Soul, and Mind is not one with this belief when my emotions run counter to the teachings of the Church that seem incongruent with everyday reality. If this sentiment had been read aloud in the 16th or the 17th century Europe, then I would have been labelled an immoral atheist, a pariah cut adrift from the traditional mooring in the canonical faith and morals of Christianity.
My anxiousness about the existence of God is emotional, rather than logical in the working of the intellect, which has been shared by writers, philosophers, and even canonized saints of the Church. According to Professor Alec Ryne’s article of “The fury that filled the rise of atheism” as featured in this month’s BBC History, the workings of emotions and the first-hand experiences of uncharitable Christians and dogmatic clerics laid out a foundation of atheism in the 16th and 17th centuries, which later became nourishment of modern western civilization.
The French polymath Blaise Pascal knew about the power of emotions: “The heart has its reasons, of which reason knows nothing.” In fact, humans make the great choices of beliefs, values, purposes intuitively, unable to articulate how and why they have been made. This means that prior to the establishment of conformed sets of moral code and religious doctrines, the Creator has already imprinted moral and ethical guides in the human mind. This can be also meant that you can be an atheist or unbeliever with a good heart because your conscience, the law of nature, can be a guide to an outward moral virtue.
In fact, the Enlightenment’s prime critique of Christianity, that is the churches in a broad sense, was that it was “immoral.” Thinkers, such as Voltaire and Thomas Paine declaimed against the churches because of their moral revulsion. Paine furthered his vehement subjective on religion as a human invention, set up to terrify and enslave mankind, bereft of advanced metaphysical views on the churches. In other words, religion as an institution should not govern human free will to decide moral choices laid out by arbitrary set of invented rules.
Thanks to the works of philosophers based upon humanism, a discovery of belief in contemplative retreat to natural wonder percolated institutionalized belief through individual spiritual reformation. That you can find God in the beauty of nature and the wonder of how the human body and mind work is a way you can affirm the existence of God as a manifestation of God because all of it could not have created itself. As a matter of fact, this natural way of finding the existence of God was St. John Paul II’s favorable method of praying during his lifetime because being a former student theater actor, he could see the clear signs of God in the workings of nature. Which coincides in the Enlightenment thinkers’ views on belief, free from institutionalized doctrines of belief.
In light of the above, my crisis of belief was more of emotional than of intellectual. The temptations that there was no God, also sprang in the minds of St. Therese of Lisieux, St. John of Cross, and other saintly men and women. Even Jesus on the Cross cried out, “Father, why have you forsaken me?” Which indicates the workings of emotions in the face of existential strife, a vantage point from which belief they had steadfastly held no longer or momentarily felt true. From angry unbelief that religion was morally intolerable to anxious unbelief that religion was an ethical institution, the history of atheism has ironically redefined the notion about belief, authentic faith, by pointing out the corruption of the churches and purifying the understanding of God as the modern world is familiar with. For me, it’s high time I went hiking on the nearby mountain trails to seek a manifestation of belief for My Own Reformation of Belief.
The mind is its own magical universe
Transforming the raw senses of experience
Into the tamed thoughts and ideas of reason
At the signals of its stars that fire from within
as crude caterpillars becoming beautiful butterflies.
Author’s Note: Finally, I had a lull moment during my lunchtime today. Hence jotting down this poem… I took the inspiration of this poem of mine from a synthesis of the two wise men, John Milton and Robert Waldo Emerson. Both of them knew about the power of the mind that could change heaven into hell, and vice versa, even before the advent of neurology. The gist of the wisdom of these two great minds is that a human being is said to be a corporeal manifestation of the mind through a mysterious process of idealizing the raw senses in the most intelligently positive way in the working of the brain. It is akin to a process of becoming a beautiful butterfly that yearns for coming out of the cocoon. This poem is intent on being my own mantra to learn to deal with the existential vertigo in the spirit of Amore feti, love of fate, and the Nietzschean guide of “That which does not kill you makes you stronger.” For life is primary after all, and thoughts about it secondary to those of us making a living out of a full-time job.
It would be devastating to know that the heart of your beloved has already parted with you. It would be even more catastrophic to learn that your love has been unrequited and consumable because it was never on equal terms for what’s worth to your once beloved. The affair of the heart is the common human trait that transcends the subjectivity of time and space, the boundary of ethnic, racial, and territorial demarcations. The truth of the matter is that when you are consumed with a burning passion sans the mind and the heart, you play fast and loose with your own life as a collateral. In the ancient times, the unconstrained passion lured the desperately love-stricken to turn to the supernatural dependencies of magic spells or love potions at the expense of their own lives in the hope of making their beloveds fall in love with them. Such was the case of one slave girl in ancient Greece who made love a dangerous game.
Her name was Dilitra, and she was in love with her wealthy master named Philoneos, whose interest in her was to satisfy his libido and nothing more. For she was his faithful and obedient bed-mate at his command. And she was in turn assigned to a relatively comfortable domestic drudgery, such as tidying up chambers and assisting in cooking in the kitchen, while other slaves toiled to the bone, as befitted what they were. As a concubine, Dilitra wanted no more and only wanted it to last as long as his master wanted her. Then all seemed to be a denouement of her happy concubinage, when she found out that Philoneos would sell her to a brothel because he was simply “bored” with her. That was a total blow to Dilitra’s faith in Philoneos whom she loved and trusted. Blindsided by her lover’s betrayal, Dilitra resorted to the magical use of herbs and potions – called pharmaka as believed to be empowered from the goddess Circe – from a sorcerer who guaranteed her that he would fall back in love with her. So she poured the potion into wine, which Philoneos voraciously gulped down at dinner. The result was the instant death of her treacherous lover, and the execution of the distressed poor Dilitra after the horrible torture by the authority on the count of punitive nature of crime against her master.
The historical record of the tragic event tells a variety of facts prevalent in the classical times. First, the idea of love was primarily erotic rather than platonic, sensual rather than holistic. In fact, what we now understand about “love” would have felt alien to the ancients in terms of relationship between man and woman because such modern idea of love was no more than a close bond between family members or a master and a horse or a dog. That is to say, love in the minds of the ancient meant the physical play of desires – Lust.In this regard, Dilitra’s desperate measure of using the magic potion betokens her attempt to awaken the flickering erotic love in Philoneos in order that he would not sell her to a brothel to let her become a pornail – a common prostitute. Hence the potion was really meant to be an aphrodisiac that went awry.
Second, the use of spells and love potions was something of a norm in the ancient Greece, where religion and daily life were inseparably bound together. It is said that there were two ways of inducing lust in a person: (1) an agon spell, which included magic, through the power of a demon to drive the desired one mad with lust for the one who initiated it. The effect of the spell, I think, could amount to the image of a fanatic band of maenads accompanying the wine god Dionysus. It was known to be mostly used by men; and (2) pharmaka, which was regarded as drug-induced love preferred by women because of the supposedly less mortally dangerous than the employment of a demon. However, anyone who opted for this “mild” form of craft did not know that its effect could be more fatal than an agon spell because it was a chemical intoxication consisting of various herbs that could be lethal when mixed improperly as is illustrated in the story of Dilitra.
It would be an anachronistic or impudent mistake of assuming that Dilitra’s tragic end resulted from her own foolhardy, rash decision to turn to quackery and superstition if we were pitchforked backwards in time. It was her only choice to secure her life under the aegis of her lover-master whose lust for her was the only guaranty of the cherished wishes. On one hand, the story of Dilitra tells us how we as humanity have evolved in understanding the meaning of love, many special thanks to philosophers and psychologists, that it complements the body and the mind (as represented by Eros and Psyche, respectively, in Roman mythology.) On the other hand, it shows us at the heat of the passion, we can return to our animal nature governed by id only. Now, that would be quite a thespian tragedy.
Author’s note: This writing is based upon my reading of an article about the history of love spells and potions in ancient Greece from a history magazine. The woeful life of the slave girl who depended upon her master’s desire of her was pathetic enough to put pen to paper. What if she just ran away when she found out her master’s intention to sell her to a brothel, instead of resorting to the drastic measure of getting the drug? No, she should have just escaped from his household forthwith. It seems to me that it was her lack of self-confidence that chained her down to her voluntary enslavement that ultimately led her to death.