Aeneas left Troy to go to Latinum with the guidance of his mother Venus (in addition to the support of Zeus and Apollo), Virgil let Aeneas from the epic "Aeneas" The prophet's prophecy learned that his descendants Caesar and Octavian would establish the Roman Empire. At the same time, Caesar always mentioned the name of his ancestor Venus like Aeneas when he was in danger or planning to implement. But this is not the name of the ancestors as a banner. Not so much, this move can often really have a deterrent effect, or that these heroes remember their origins very clearly, and their origins can always be respected as a prominent proof wherever they go; Moruo said that this origin is achieved through walking. What is obtained by crossing a bridge is "remembered", in other words, in reality it is a national delirium, a reconstruction - as Nietzsche later called himself Caesar Nietzsche - which he Picked up the arrow where the former had shot it, and shot it again. It is not that there is a certain guide who points the way to man, but that the path of this man is opened up with the previous path. Some eternal thing "leads me up" is a later religious term, something after making someone an incarnation, a kind of mere arrogance and appropriation, the era of emphasizing blood, inheritance, family crest and pedigree . For example, Dante is arming himself with Virgil. The reason why he can walk around hell and heaven alive is because he is accompanied by the dead Virgil. In the case of Aeneas and Caesar, they single-handedly created the myth; in Dante's case, he mythically created his own name. The former is an all-out process, and the latter is a means when nothing can be done. Although the former mentions the name of ancestors, it is the resonation of death in the strong footsteps. The so-called ancestors do not actually have names, nor do they exist, and there is no such subject as the cause; the latter always needs to recognize a teacher first. , after making his own steps in line with the name and the truth, and then cowardly seeking universal approval. In the former case, Goethe dares to make Faust resonate with the devil, who is actually dancing the dance of the devil or death, not the lead of some eternal woman. In the latter case, Pushkin, in "For the Shores of a Distant Motherland", is in the place of union with his lover as agreed - this process is not the focus of the narrative, and once again the union of this important and radiant The event is not the point, it is willing to retreat behind the scenes, take the second place, the point is that the poet himself still grieves over death. The former case is narrative literature, the latter One case is lyric poetry. Nietzsche felt that to call Goethe a lyricist would be a great devaluation of him. In the former case (in narrative literature) things immediately become things that speak to me, and I respond to them, and things and I always reach that point of union after opening the way; in the latter case (in lyric poetry) ), the only one who speaks, the only one who uses language to be gracious to all things or to feel guilty is the subject "I". Godard's "Goodbye to Language" has a narration "This is a story told by dogs". This sentence can be understood as: this is a movie made by dogs; or, I made movies for dogs (I write for dogs); or, the dog ordered me to write and film these; or, if this is not a dog's track , why do other things make me look here and there, think, and use language in silence? ; Or, why do you, people, think that these narrations and lines of mine, this script that is not a script, is speaking to people, rather than being conveyed and empowered by a dog? At the beginning of the film, Solzhenitsyn's readers put forward the concept of "literary exploration experiment". Narrative literature is really an experiment in literary exploration - under what circumstances does one have to say a word (since I've been sent to silence). Deleuze & Guattari: We even think and write for the animals themselves. A film like Goodbye Language is a film of literary exploration, and the narrative of a film of literary exploration is a story of one or two sentences being spoken for the sake of animals. In this film, sadness is the hue on the human palette, while the hue of the world in the dog's narration is bright and moving; what a man does not know his dog knows, always faces The abyss cannot be drawn by a man, because what he sees is what he does not know, and the narrator knows that the dog always knows a certain truth. Narrative—here can only be a language in which things speak to me and I respond to things—and so it is that juncture, that bridge that is opened, like a dog crossing deep water, wading across rivers, Drilled through the long underground cave, through the four seasons, from the place of death, from the place of life, with a keen sense of smell, tilted its nose, and found me; I also tilted my nose from the place of death, from the place of life, in the In the changing seasons, wading through the deep waters of the underworld, leaning over the basement, touching its side, my nose - it is an experiment of literary exploration. We put the work of this literary exploration experiment as a fruit on the highest branch, placed in the highest position, placed in the center of the colorful forest, there is no sad position here! Here color glows, everything breathes, and time has the ability to pass. This is the reward for this dog, and what we all share. The achievements of this business are in front of you. This is the emotion we want to express: priceless gratitude! Supreme praise! In narrative literature, all we need to say is this: puppy, look what you've done! What an amazing thing to do with just one puppy! - nothing else at all. We went to war, when will we be back? Our dogs don't ask such questions. This feeling is not our expression. The real question is, when are we not going to war with our dogs? "This woman may have been dragged away by some kind of animal. It was called Taurus in Greek times. No, it is called an animal today." Once upon a time, it was Zeus who kidnapped Europa. Once upon a time there was Virgil who led Dante. Today, animals drag us. That's what happens with narrative literature—it's what happens with "minds," what happens with adventure. From Goethe to Nietzsche to Deleuze and then what happened to Godard and us. It's the emotion we want to express: priceless gratitude! Supreme praise! In narrative literature, all we need to say is this: puppy, look what you've done! What an amazing thing to do with just one puppy! - nothing else at all. We went to war, when will we be back? Our dogs don't ask such questions. This feeling is not our expression. The real question is, when are we not going to war with our dogs? "This woman may have been dragged away by some kind of animal. It was called Taurus in Greek times. No, it is called an animal today." Once upon a time, it was Zeus who kidnapped Europa. Once upon a time there was Virgil who led Dante. Today, animals drag us. That's what happens with narrative literature—it's what happens with "minds," what happens with adventure. From Goethe to Nietzsche to Deleuze and then what happened to Godard and us. It's the emotion we want to express: priceless gratitude! Supreme praise! In narrative literature, all we need to say is this: puppy, look what you've done! What an amazing thing to do with just one puppy! - nothing else at all. We went to war, when will we be back? Our dogs don't ask such questions. This feeling is not our expression. The real question is, when are we not going to war with our dogs? "This woman may have been dragged away by some kind of animal. It was called Taurus in Greek times. No, it is called an animal today." Once upon a time, it was Zeus who kidnapped Europa. Once upon a time there was Virgil who led Dante. Today, animals drag us. That's what happens with narrative literature—it's what happens with "minds," what happens with adventure. From Goethe to Nietzsche to Deleuze and then what happened to Godard and us.
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