LITMIR.BIZ

Скачать книгу

but to humor. Hence Sade’s strange laughter, his wit amid the most fantastic cruelties. For life is not a tragedy but a comedy. Comedy is born of the clash between Apollo and Dionysus. Nature is always pulling the rug out from under our pompous ideals.

      Female tragic protagonists are rare. Tragedy is a male paradigm of rise and fall, a graph in which dramatic and sexual climax are in shadowy analogy. Climax is another Western invention. Traditional Far Eastern stories are picaresque, horizontal chains of incident. There is little suspense or sense of an ending. The sharp vertical peaking of Western narrative, as later of orchestral music, is exemplified by Sophocles’s Oedipus Rex, whose moment of maximum intensity Aristotle calls peripeteia, reversal. Western dramatic climax was produced by the agon of male will. Through action to identity. Action is the route of escape from nature, but all action circles back to origins, the womb-tomb of nature. Oedipus, trying to escape his mother, runs straight into her arms. Western narrative is a mystery story, a process of detection. But since what is detected is unbearable, every revelation leads to another repression.

      The major women of tragedy—Euripides’s Medea and Phaedra, Shakespeare’s Cleopatra and Lady Macbeth, Racine’s Phèdre—skew the genre by their disruptive relation to male action. Tragic woman is less moral than man. Her will-to-power is naked. Her actions are under a chthonian cloud. They are a conduit of the irrational, opening the genre to intrusions of the barbaric force that drama shut out at its birth. Tragedy is a Western vehicle for testing and purification of the male will. The difficulty in grafting female protagonists onto it is a result not of male prejudice but of instinctive sexual strategics. Woman introduces untransformed cruelty into tragedy because she is the problem that the genre is trying to correct.

      Tragedy plays a male game, a game it invented to snatch victory from the jaws of defeat. It is not flawed choice, flawed action, or even death itself which is the ultimate human dilemma. The gravest challenge to our hopes and dreams is the messy biological business-as-usual that is going on within us and without us at every hour of every day. Consciousness is a pitiful hostage of its flesh-envelope, whose surges, circuits, and secret murmurings it cannot stay or speed. This is the chthonian drama that has no climax but only an endless round, cycle upon cycle. Microcosm mirrors macrocosm. Free will is stillborn in the red cells of our body, for there is no free will in nature. Our choices come to us prepackaged and special delivery, molded by hands not our own.

      Tragedy’s inhospitality to woman springs from nature’s inhospitality to man. The identification of woman with nature was universal in prehistory. In hunting or agrarian societies dependent upon nature, femaleness was honored as an immanent principle of fertility. As culture progressed, crafts and commerce supplied a concentration of resources freeing men from the caprices of weather or the handicap of geography. With nature at one remove, femaleness receded in importance.

      Buddhist cultures retained the ancient meanings of femaleness long after the West renounced them. Male and female, the Chinese yang and yin, are balanced and interpenetrating powers in man and nature, to which society is subordinate. This code of passive acceptance has its roots in India, a land of sudden extremes where a monsoon can wipe out 50,000 people overnight. The femaleness of fertility religions is always double-edged. The Indian nature-goddess Kali is creator and destroyer, granting boons with one set of arms while cutting throats with the other. She is the lady ringed with skulls. The moral ambivalence of the great mother goddesses has been conveniently forgotten by those American feminists who have resurrected them. We cannot grasp nature’s bare blade without shedding our own blood.

      Western culture from the start has swerved from femaleness. The last major Western society to worship female powers was Minoan Crete. And significantly, that fell and did not rise again. The immediate cause of its collapse—quake, plague, or invasion—is beside the point. The lesson is that cultic femaleness is no guarantee of cultural strength or viability. What did survive, what did vanquish circumstance and stamp its mind-set on Europe was Mycenaean warrior culture, descending to us through Homer. The male will-to-power: Mycenaeans from the south and Dorians from the north would fuse to form Apollonian Athens, from which came the Greco-Roman line of Western history.

      Both the Apollonian and Judeo-Christian traditions are transcendental. That is, they seek to surmount or transcend nature. Despite Greek culture’s contrary Dionysian element, which I will discuss, high classicism was an Apollonian achievement. Judaism, Christianity’s parent sect, is the most powerful of protests against nature. The Old Testament asserts that a father god made nature and that differentiation into objects and gender was after the fact of his maleness. Judeo-Christianity, like Greek worship of the Olympian gods, is a sky-cult. It is an advanced stage in the history of religion, which everywhere began as earth-cult, veneration of fruitful nature.

      The evolution from earth-cult to sky-cult shifts woman into the nether realm. Her mysterious procreative powers and the resemblance of her rounded breasts, belly, and hips to earth’s contours put her at the center of early symbolism. She was the model for the Great Mother figures who crowded the birth of religion worldwide. But the mother cults did not mean social freedom for women. On the contrary, as can be seen in Hollywood history, cult objects are prisoners of their own symbolic inflation. Every totem lives in taboo.

      Woman was an idol of belly-magic. She seemed to swell and give birth by her own law. From the beginning of time, woman has seemed an uncanny being. Man honored but feared her. She was the black maw that had spat him forth and would devour him anew. Men, bonding together, invented culture as a defense against female nature. Sky-cult was the most sophisticated step in this process, for its switch of the creative locus from earth to sky is a shift from belly-magic to head-magic. And from this defensive head-magic has come the spectacular glory of male civilization, which has lifted woman with it. The very language and logic modern woman uses to assail patriarchal culture were the invention of men.

      Hence the sexes are caught in a comedy of historical indebtedness. Man, repelled by his debt to a physical mother, created an alternate reality, a heterocosm to give him the illusion of freedom. Woman, at first content to accept man’s protections but now inflamed with desire for her own illusory freedom, invades man’s systems and suppresses her indebtedness to him as she steals them. By head-magic she will deny there ever was a problem of sex and nature. She has inherited the anxiety of influence.

      The identification of woman with nature is the most troubled and troubling term in this historical argument. Was it ever true? Can it still be true? Most feminist readers will disagree, but I think this identification not myth but reality. All the genres of philosophy, science, high art, athletics, and politics were invented by men. But by the Promethean law of conflict and capture, woman has a right to seize what she will and to vie with man on his own terms. Yet there is a limit to what she can alter in herself and in man’s relation to her. Every human being must wrestle with nature. But nature’s burden falls more heavily on one sex. With luck, this will not limit woman’s achievement, that is, her action in male-created social space. But it must limit eroticism, that is, our imaginative lives in sexual space, which may overlap social space but is not identical with it.

      Nature’s cycles are woman’s cycles. Biologic femaleness is a sequence of circular returns, beginning and ending at the same point. Woman’s centrality gives her a stability of identity. She does not have to become but only to be. Her centrality is a great obstacle to man, whose quest for identity she blocks. He must transform himself into an independent being, that is, a being free of her. If he does not, he will simply fall back into her. Reunion with the mother is a siren call haunting our imagination. Once there was bliss, and now there is struggle. Dim memories of life before the traumatic separation of birth may be the source of Arcadian fantasies of a lost golden age. The Western idea of history as a propulsive movement into the future, a progressive or Providential design climaxing in the revelation of a Second Coming, is a male formulation. No woman, I submit, could have coined such an idea, since it is a strategy of evasion of woman’s own cyclic nature, in which man dreads being caught. Evolutionary or apocalyptic history is a male wish list with a happy ending, a phallic peak.

      Woman does not dream of transcendental or historical escape from natural cycle, since she is that cycle. Her sexual maturity means marriage to the moon, waxing and waning in lunar phases. Moon, month, menses: same word, same world.

Скачать книгу