Showing posts with label order. Show all posts
Showing posts with label order. Show all posts

Wednesday, October 26, 2011

58. Definitions: "Monotheism" and "Messiah" -- by Leo Rosten -- from his "Treasury of Jewish Quotations"

Excerpts from "Leo Rosten's Treasury
of Jewish Quotations",
Bantam Books, 1972.
 
Topic:
Monotheism
 
Editor's note:
However
the history
of
man
is written
in the future,
one thing
seems to me
certain:
the
Hebrew concept
of monotheism
represented
a
most profound
intellectual,
no less than
religious,
revolution:
 
(1) It freed
men
from
a fearful subordination
to
the forces of nature,
by
positing a loving
(or punishing)
supranatural
cosmic power;
the idea of one God
emancipated men
from their terror
of many evil demons,
supernatural apparitions,
fiendish hobgoblins,
animistic cacodemons,
etc.
 
(2) Monotheism
fused
religion and morality:
ethical conduct
became
a duty to the deity;
morality
now partook
of the divine.
 
(3) The love of God
was a novel
and
immense
contribution
(the Hebrews'
predecessors
and
contemporaries
feared,
placated,
or made sacrifices
to
a gallery of gods
who
were
unloving,
willful,
vain,
jealous,
angry,
petulant --
in short,
oddly undivine;
the Iliad
is a marvelous chronicle
of
the
curious intramural feuds
that raged
on
lofty Olympus).
 
(4) The concept
of One God
ultimately became
a stimulus to science
(even though the rabbis
were opposed
to the secular
and the scientific),
because
it suggested a unitary,
consistent pattern
within which
everything in nature
functioned.
 
Monotheism
offered
the idea of order,
consistency,
and
meaning
in the universe --
all
waiting for man
to explore
and
understand.
 
(5) The idea
of One God
contained
within itself
the concept
of
a central cause,
a
prime reason
for things;
and
the searches
for that reason,
whether
in the analysis
of sacred writings
or
experimental ventures
or
the cool observation
of
physical phenomena,
became
a
systematic enterprise.
 
For
once
cosmic unity
is accepted,
universal consistencies,
regularities,
and
interrelations
follow;
and
each new discovery
adds weight
to the view
that
behind all
of the multifarious,
mystifying
phenomena
of the world,
there is
one
final
and
consistent
set of principles.
(I am
by no means
downgrading
the
surpassing brilliance
of
polytheistic Greece.)
 
Von Humboldt
shrewdly observed
that
the love of nature,
to say nothing
of
the sympathetic
study of it,
could only begin
after
superfluous pagan gods
had been
removed
from
man's
intellectual apparatus.
 
And Einstein,
in one of his
most famous asides
about quantum physics,
said that he
could not believe
that God
"threw dice" --
i.e.,
that the laws
of the universe
are random.

[p. 330 - 331]

+++
 
Topic:
God: Complaints About
 
Editor's note:
One of
the most interesting,
surprising,
and (to me) endearing
aspects
of the attitude
of Jews
to the Lord
is the candor
of their complaints
about Him:
grievances
phrased with such tact,
felicity,
irony
or
wit
that they
manage to stop
just this side
of
the sacrilegious.
 
To be
both
pious and critical,
loving and sardonic,
fearful and unafraid,
respectful and indignant,
represents
a most delicate
and
sophisticated feat.
 
I think
that
the complaints
against the Lord
are managed
without guilt,
which
is the most
remarkable
aspect of all,
because
believing Jews
hold that:
 
(a) God
made a covenant
with
the Hebrews,
according to
the Holy Torah;
 
(b) a contract
requires
responsible
performance
from both sides,
however vast
the disparity
in the status,
virtue
or power
of
the
contracting parties;
 
(c) reciprocal
responsibility
justifies
a complaint
by
either party
about
the imperfect conduct
or
non-performance
of
the other;
 
(d) the relation
between
a Jew and the Lord
is one-to-one,
since
the entire structure
of
the Jewish faith
rests
on the assertion,
in the Talmud,
that
there are
no mediators,
no intermediaries,
between
God and man
(rabbis
are not
agents
of the Lord);
 
(e) since the Jews
hold
that God gave
each man
a Conscience,
by which
to decide for himself
whether
to
observe
His commandments
or not;
and
Reason,
through which
to analyze
everything
under the sun;
and
Free Will,
which
contains
the capacity to err,
sin
or
blaspheme
(and take
the consequences),
Jews
simply
exercise
these
God-given gifts
to the full;
 
(f) the Lord
of the Universe
is surely
far too great,
kind,
just
and
all-knowing
to mind
little man's efforts
to
lighten life's
burdens
by
the play
and
pleasure
of levity,
for --
 
(g) it would be
a humorless,
therefore
imperfect,
God
who did not
understand
the preciousness
of laughter
in a world
so laden
with
suffering and tragedy.
 
What I am
trying to explain
may come down to
the simple fact
that
a robust people,
if not
their solemn pedants,
simply
take it
for granted
that
God
has
a sense of humor,
too.
 
How else
could
He
put up
with
His problems?

[p. 224 - 225]
 
+++
 
Topic:

The Messiah
 
Editor's note:
The history
and
different connotations
of
"Messiah"
deserve
careful explanation.
 
The word
comes
from Hebrew:
ha-mashiah:
"the anointed."
 
The Hebrew
Mashiah
in Greek
became messias;
in translation,
christos;
hence,
messias = messiah;
christos = Christ –
and each
denotes
"the anointed one."
 
In the
Old Testament,
Meshiah
Was
the title given
to kings
("God's anointed")
and priests,
who were initiated
by
being anointed
with
sacred oil.
 
Later,
Meshiah
meant a prophet,
or
anyone
with a special mission
from God.
 
Then
Meshiah
came to mean
the awaited Deliverer
of the Jews
from their bondage
and oppression,
who will restore
the
kingdom of Israel.
 
Finally,
Meshiah
stood for
the Savior
who
will make
the world of men
acknowledge
God's sovereignty,
and will thus
usher in
the
Day of Judgment.
 
English translations
of the Bible
tend to separate
the idea
of "the anointed"
from
the "Messiah" –
the first
being used
for
the living,
the second
for
the expected.
 
But
the
Jewish concept
should be
approached
historically.
 
The Old Testament
uses the term
meshiah
or
anointed king
for
Saul,
David,
Zedekiah,
and
Cyrus of Persia,
who
was no Hebrew.
 
King David
established
the dynastic principle
among
the Hebrews.
 
And
from this
developed
the idea
that
some man,
blessed by God,
would come
from
the House of David
to
end Israel's tribulations,
enforce justice,
and establish peace.
 
As
a spiritual leader,
the Messiah
would establish
a messianic age –
on earth,
be it noted –
which
the prophets
Isaiah
and
Micah
foretold.
 
And
in the
new
Age of Righteousness,
all
of
mankind
would be redeemed.
 
Jews
thus distinguished
the earthly Messiah
from
a heavenly Messiah:
the earthly Messiah,
deliverer of the Jews,
would be a man
born
of the line of David;
but
the heavenly Messiah
lives
in Heaven
"under
the wings
of the Lord"
(Enoch, 39)
and
existed
before
even the sun
and
the stars
were created.
 
The idea
of
a divine
"Son of Man"
was not understood
by Jews
in
the later
Christian
sense.
 
The doctrine
of
the Messiah
has been
one of the most
powerful elements
in
the
history of Judaism.
 
Whenever
catastrophes –
epidemics,
starvation,
pogroms,
wars,
expulsions,
or any
of the torments
visited
upon the Jews –
seemed
unendurable,
the faithful
looked once more
into
their holy books
for
some hopeful,
hidden sign,
some new revelation,
some
miraculous harbinger
of deliverance.
 
Pious mystics,
astrologers,
cabalists,
and, later,
some Hasidim
even
predicted
the exact time
when the Messiah
would
usher in
the
Kingdom of God.
(So did
Christian Millenarians
throughout
the
Middle East,
Europe,
and England.)
 
The Romans
feared
messianic predictions
for
political reasons,
considering them
an incitement to,
or a camouflage for,
rebellion
against Rome's rule;
and
messianic movements
often did lead
to
political militancy.
 
Whenever
an
empire
under which
Jews
suffered
crumbled –
the Persian,
the Byzantine,
the Roman –
the
messianic fervors
were
intensified.
 
A
memorable statement
on this
tragic-hopeful theme
is that of
Professor Hugh Trevor-Roper:
"... when Popes
and Kings
allied themselves
with
the blind prejudices
of the Church
and
the mob,
such patronage
availed the Jews
no more
than
the Moriscos of Spain
or
the Huguenots of France.
 
Whither then
were
the
persecuted remnant
to turn
for relief?
 
Whither indeed
but
to that stock refuge
of the oppressed:
mysticism,
the Messiah,
the Millennium.
 
As the defeated
humanists of Spain
sank into
private ecstasies,
as the
marabout
on
his African dunghill
promises
a Mahdi
to
the dejected bedouin,
as
the Anabaptists
of the seventeenth century
manipulated
their Scriptural logarithms
to
hasten the Apocalypse,
so also
the
Jews of the Dispersion
deviated
into mystical heresies,
counted the days
to the Millennium,
or
discovered
the Messiah."
[-- Hugh Trevor-Roper ,
"Historical Essays",
Macmillan, London,
1963, pp. 148 - 149]
 
Messianic ideas
opposed
the
sense of resignation,
 the
passive acceptance
of
Israel's fate on earth
that,
some Jews felt,
was encouraged
by
Talmudic law.
 
A group
called
Neturei Karta,
who today
live in Israel,
refuse to recognize
Israel
as
an independent state,
because
they maintain
that such
a holy sovereignty
could only have been
established
by the meshiah
and
the meshiah has,
clearly,
not yet arrived.
[p.  322 - 324]
 
+++

Tuesday, October 25, 2011

47. "Man in Disorder" -- excerpts from "Seven Beauties", a film by Lina Wertmuller

Excerpt from
the screenplay
for
"Seven Beauties",
a film by
Lina Wertmuller,
1976,
from the book:
"The Screenplays
of Lina Wertmuller",
translated
from the Italian
by
Steven Wagner,
Warner Books,
1977,
pages 293 - 295.
 
Setting:
Our "hero",
Pasqualino
(played by
Giancarlo Giannini)
is in
a German
Prisoner-of-War
Camp
during
World War II.
 
He has decided
that,
as a strategy
for survival,
he must try
to seduce Hilde,
(also called
"the Beast")
the woman
who runs the prison,
a huge, cold-hearted
Nazi Commandant,
played
by Shirley Stoler.
 
He gets the idea
when he has a dream
of his mother,
who, long ago,
gave him good advice
about girls.
 
We begin
with the dream,
that sweeps him back,
far away
from the Prison Camp
and its misery.
 
+++
 
Scene 24
 
                (Ground floor
                of
                Pasqualino's house
                -- interior
                -- daytime.
               
                Pasqualino's mother
                is sitting
                on a low chair
                winding wool
                into a ball.
               
                We have gone back
                many, many years.
               
                The atmosphere is peaceful
                in this corner of the world.)
 
PASQUALINO'S MOTHER:
Girls will be girls,
Pasqualino,
but
no matter
how wicked they are,
if you find a means
of looking
into their heart
you'll always find
some goodness.
 
                (Pasqualino stops crying,
                his face streaked by tears.)
 
PASQUALINO'S MOTHER:
There's even a song
that says the same thing.
 
SHE SINGS:
"When you
behave
like this
you are like
a cup
of black coffee.
 
On
the bottom
of the cup
there is sugar,
but
the coffee
is bitter
unless
you stir it...
 
So
I have to
stir you
until
the sweetness
rises up
and
I can taste it..."
 
                (She laughs
                and laughs.
               
                His mother's
                laughing face
                disappears
                and
                in her place
                we see
                Hilde's
                menacing look.)
 
+
 
Scene 25
 
                (Camp
                -- exterior
                --daytime.
               
                The prisoners
                are being counted.
               
                They stand
                in the freezing Appleplatz,
                lined up
                in rows of five.
               
                The block-elder counts slowly.)
                               
                BLOCK-ELDER:
                Eins ... zwei ... drei.
                               
                (Pasqualino
                stares at
                the Beast.
                               
                He is softly humming
                the song
                his mother taught him.
                               
                In his look
                we can read
                passion and sexual lust,
                we can picture

               Spanish guitars
                playing romantically
                and
                love-making
                by the seashore.
                               
                In his brave attempt
                to be noticed
                by the Beast
                as he tries
                to seduce her,

                Pasqualino
                raises the tone
                of his serenade.
                               
                Francesco
                hears the strains
                of this inappropriate tune
                and
                is convinced
                that hunger and fatigue
                have finally
                gone to his friend's head.
                               
                Pedro
                notices
                Pasqualino's
                Casanova look
                and
                points it out
                to Francesco.
                               
                There is no doubt:
                The madman
                has set out
                to seduce
                the Beast.
                               
                Pedro finds it
                hard to believe,
                but it's true.
                               
                Pasqualino
                continues
                serenading her.
               
                Her ruthless stare
                goes right over the heads
                of the skeletons
                standing in the cold morning.
                               
                During a pause
                in the counting
                she hears a few notes
                of Pasqualino's song.
                               
                She turns her killer eyes
                toward
                the source of this sound
                which has reached her ears.
                               
                Pasqualino is tense.
                               
                He puts
                his whole being
                into the gaze.
               
                The Beast
                slowly walks
                toward him.
                               
                Pasqualino's feeble voice
                gets weaker and weaker
                as she approaches,
                and eventually
                it dies out completely.
                               
                He lowers his lids.
               
                He's
                far too frightened
                to continue with
                this love game.
                               
                The Beast
                is almost
                on top of him
                now.
                               
                He lifts his lids
                and with
                superhuman effort
                gives her
                his most seductive
                and warm look.
                               
                She stops
                to consider the look
                in these green eyes,
                but
                she isn't really
                interested.
                               
                Her eyes
                are diverted
                to
                the other prisoners.
                               
                Even though
                he was noticed
                for
                only an instant,
                he is happy,
                it's better
                than nothing at all.
               
                As she walks off,
                his gaze
                follows
                her imposing figure.)
 
+
 
Scene 26
 
                (Barrack no. 23
                -- interior
                -- nighttime.
               
                The naked light bulb,
                which accentuates
                the squalor of the room,
                is never turned off.
                               
                Pasqualino
                and
                Francesco
                are curled up
                on the highest berth
                of their bunk.)
 
FRANCESCO:
You're totally insane!
 
PASQUALINO:
What have I got to lose?
 
I want to give it a go...
 
FRANCESCO:
It's too dangerous!
 
She's a sadistic bitch!
 
                (Pasqualino shakes his head.
                He is determined to go ahead
                with his crazy strategy.)
 
PASQUALINO:
I know,
but I've explained it
to you already.
 
I had a vision
of my mother;
no matter what
a ruthless bitch
this woman might be,
there's got to be
a little sweetness
tucked away
somewhere ...
perhaps
she needs some love ...
 
You see, Francesco,
I may not
have studied,
but when it comes
to women,
I'm something
of an expert.
 
                (Francesco replies jokingly,
                even though he is tired
                and depressed.)
 
FRANCESCO:
I wouldn't have doubted it
for a minute ...
 
PASQUALINO:
Want to know
what they used to
call me
back home?
 
Pasqualino
Seven Beauties!
 
                (Francesco is amazed.)
 
FRANCESCO:
That's what they called you?
 
PASQUALINO:
Can you believe that?
 
I know I'm ugly ...
 
FRANCESCO:
To say the very least!
 
...You're revolting!
 
PASQUALINO:
Well,
strangely enough,
even though I was
so ugly
the women
would lose their heads
over me
and the people
would look at me
and
ask how could I do it
when
I was so ugly.
 
They said
it must have been
because
I was charmed,
I had
the "Seven Beauties".
 
Do you understand me?
 
FRANCESCO:
No,
I don't understand,
but I believe it ...
 
PASQUALINO:
I'm not bragging,
women really like me,
or should I say
they really used to like me...
 
To tell the truth,
I haven't seen myself
in a mirror
in nearly two years.
 
So, then, seeing that I was
pretty ugly
in those days,
I am rather concerned
about how I look now.
 
                (Pasqualino
                is pathetic in his concern.
                                               
                Tears are beginning
                to fill his eyes.)
 
PASQUALINO:
How must I look
after all these years?
 
My teeth
are loose.
 
I can hardly
keep my eyes open.
 
I'm skin and bones
and I notice
my ass
is beginning to sag.
 
Please, Francesco,
take a good look at me
and let me have
your honest opinion.
 
                (Pasqualino raises his head
                and allows Francesco's wise look
                to assess
                the extent of the damage.)
 
FRANCESCO:
You really are
quite revolting;
I wouldn't bother!
 
                (Pasqualino is obstinate.)
 
PASQUALINO:
No, I've just got to try it ...
I want to live, Francesco,
I want to have children,
I want to see my children's children
and I also want to see
my children's children's children ...
 
                (Pedro's voice rises up
                from the lower bunk.)
 
PEDRO:
What's all this shit
you're going on about?
 
                (Pedro laughs.
                Pasqualino leans over
                and grabs the anarchist by his shirt.)
 
PASQUALINO:
You fucker, how dare you?
 
Who are you to make fun of me?
 
                (Francesco rushes over
                to split up the two.)
 
FRANCESCO:
Are you mad?
 
                (Pedro doesn't react,
                he just laughs
                and lets Pasqualino shake him.)
 
PEDRO:
I've got nothing against you personally,
but you really are talking a load of shit.
 
                (Pasqualino lets him go
                and crawls back into his corner.)
 
PASQUALINO:
Piss off!
 
PEDRO:
You see,
the more children you have
the more you speed up the end.
 
                (Francesco is interested
                by what the anarchist is saying.)
 
FRANCESCO:
In what way,
what do you mean exactly?
 
                (Pedro stretches out in his bunk
                and speaks gently.)
 
PEDRO:
In the thirteenth century
there were
five hundred million people
in the world,
in the fourteenth century
they were
double that number.
 
We are now
so shocked
by twenty or thirty million
dead,
but in the next
two or three hundred years
we are going to be
ten, twenty billion.
 
Then
you'll see,
every corner
of this earth
will be worse
than this camp!
 
Man will
start killing
for
a piece of bread,
whole families
will be wiped out
over
an apple.
 
Then
the world
will end.
 
                (Pasqualino and Francesco
                listen attentively,
                totally absorbed
                by what the anarchist is saying.)
 
PEDRO:
It's really
a shame
because
I believe in mankind.

A new type
of man
must hurry up
and appear ...
not the type of beast
which has
unbalanced the harmony
of nature up to now,
but
a civilized man,
a man
who would be able
to find
peace and harmony
within himself.
 
                (Francesco
                is surprised.)
 
FRANCESCO:
What are you saying?
 
That we must
put things
back in order?
 
PEDRO:
Order?
 
No, these barbarians
here
are very orderly ...
 
No, we need
the shadow of disorder.
 
That is
the only hope,
man
in disorder.
 
+++