PDF THE MALE OF THE SPECIES: A humorous poetic take on mans quirks and traits

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From entries in "Henslowe's Diary," a species of theatrical account book which has been "Every Man in His Humour" was an immediate success, and with it Jonson's Ben Jonson had theories about poetry and the drama, and he was neither traits in juxtaposition in their conflict and contrast, struck the spark of comedy.
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• There may be one question a true narcissist cannot resist.
• TMI: An essay on contemporary poetry in Aotearoa/New Zealand | The Spinoff
• Your Thorns Are the Best Part of You
• EVERY MAN OUT OF HIS HUMOUR

The rocks become black where they urinate. The boy then calls out the esoteric name as he swallows the food. The emphasis on the place name in myth and ritual can only mean one thing, that both myth and ritual are an attempt to cathect environment with libido. The "beast, anus, semen, urine, leg, foot" in the Australian song, chant or enchantment, that is also hill, hole, see, stream, tree or rock, where " in the Toara ceremony the men dance around the ring shouting the names of male and female genital organs, shady trees, hills, and some of the totems of their tribe ," are most familiar to the Freudian convert Roheim.

He sees with a sympathy that rises from the analytic cult in which Freud has revived in our time a psychic universe in which dream has given a language where, by a "sexual obsession" as Jung calls it , the body of man and the body of creation are united. The "blood" of the Aranda, the "libido" of the Freudian, may also be the "light" of our Kabbalist text. And this tree of God is also, as it were, the skeleton of the universe; it grows throughout the whole of creation and spreads branches through all its ramifications. All mundane and created things exist only because something of the power of the Sefiroth lives and acts in them.

The simile of man is as often used as that of the Tree. The Biblical word that man was created in the image of God means two things to the Kabbalist: first, that the power of the Sefiroth, the paradigm of divine life, exists and is active also in man.

There may be one question a true narcissist cannot resist.

Secondly, that the world of the Sefiroth, that is to say the world of God the Creator, is capable of being visualized under the image of man the created. From this it follows that the limbs of the human body are nothing but images of a certain spiritual node of existence which manifests itself in the symbolic figure of Adam Kadmon, the primordial man. The Divine Being Himself cannot be expressed. All that can be expressed are His symbols. The relation between En Sof and its mystical qualities, the Sefiroth, is comparable to that between the soul and the body, but with the difference that the human body and soul differ in nature, one being material and the other spiritual, while in the organic whole of God all spheres are substantially the same.

As Scholem hints, " the conception of the Sefiroth as parts or limbs of the mystical anthropos leads to an anatomical symbolism which does not shrink from the most extravagant conclusions. In the communal image, the human figure is male and female. Ass-hole, penis, cunt, navel, were not only taboo but sacred, words to be revealed in initiations of the soul to the divine body, as at Eleusis the cunt of a woman in the throws of birth was shown.

In what we call carnal knowledge, in the sexual union of male and female nakedness, God and His creation, the visible and invisible, the above and the below are also united. Ham, who sees the nakedness of his father, is the prototype of the Egyptian who in an alien or heretic religion knows the secrets of God. To steal a look, like the theft of fire, is a sin, for the individual seeks to know without entering the common language in which things must be seen and not seen.

In the contemporaneity of our human experience with all it imagines, there may be not a displacement but an extension of libido: the revelation of the mother remains, the revelation of the male body is added. The old men next elevate their arms above their heads and the boys are directed to look at their armpits. Their navels are exhibited in the same way. The men then put their fingers on each side of their mouths and draw their lips outward as wide as possible, lolling out their tongues and inviting the special attention of the novices. They next turn their backs and, stooping down, ask the novices to take particular notice of their posterior parts.

For Roheim, the images and magic of Australian story and rite are one with the images and magic of all dreams:. After having withdrawn cathexis from environment, we fall asleep. But when the cathexis is concentrated in our own bodies we send it out again and form a new world, in our dreams. If we compare dream mechanisms with the narratives of dream-times we find an essential similarity between the two.

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The endless repetitions of rituals and wanderings and hunting are indeed very different from a dream; but when we probe deeper we find that they are overlaid by ceremony and perhaps also by history. These natives do not wander because they like to Man is naturally attached to the country where he was born because it, more than anything else, is a symbol of his mother. Economic necessity, however, compels him time and again to leave his familiar haunts and go in search of food elsewhere. Against this compulsion to repeat separation, we have the fantasy embodied in myth and ritual in which he himself creates the world.

Where the nursing woman and the countryside itself are both "Mother", and where in turn the men of the tribe may initiate and reveal maleness as an other Mother, "Mother" means unity, what Gertrude Stein called the Composition. What we experience in dreaming is not a content of ourselves but the track of an inner composition of ourselves. We are in-formed by dreams, as in daily life we experience that which we are able to grasp as information.

We see, hear, taste, smell, feel, what can be drawn into a formal relation; to sense at all involves attention and composition. This makes the thing we are looking at very different and this makes what those who describe it make of it, it makes a composition, it confuses, it shows, it is, it looks, it likes it as it is, and this makes what is seen as it is seen. In the ritual, song, parts of the body, parts of the landscape, man and nature, male and female, are united in a secret composite of magic names.

O, no, they said: jelindja wars, the words only. The form of the incantation is an endless, monotonous flow of words, and actually the men urinate very frequently while performing the ceremonies. In a second or two the blood spurts and runs in a rapid stream.

The beat of the song sung by the old men increases to follow the rhythm of the blood. Life itself is an endless, monotonous flow, wherever the individual cannot enter into it as revealed in dance and melody to give rhythmic pattern; the world about goes inert and dead. The power of the painter in landscape is his revelation of such movement and rhythm in seeing, information, in what otherwise would have been taken for granted. Here too, cadence is how it is done; to make clear the meaning of cadence they referred to the choral line of Greek poetry that was also the movement of the choraldance, strophe and antistrophe.

The " manmade world. Parts and operations of the human body, but also parts and operations of the cosmos, are related in a new ground, a story or picture or play, in which feeling and idea of a larger whole may emerge.

And in this new medium, in a new light, "man" and "environment" both are made up. The art of the poem, like the mechanism of the dream or the intent of the tribal myth and dromena, is a cathexis: to keep present and immediate a variety of times and places, persons and events.

In the melody we make, the possibility of eternal life is hidden, and experience we thought lost returns to us. Their immortality is a denial of the separation anxiety. Separation from the mother is painful; the child is represented in myth as fully formed, even before it enters the mother. The tjurunga from which it is born is born is both a phallic and a maternal symbol. But all primal identities are Adamic containing male and female, man and animal, in one.

We are each separated from what we feel ourselves to be, from what we essentially are but also from the other we must be. Wherever we are we are creatures of other places; whenever we are, creatures of other times; whatever our experience, we are creatures of other imagined experiences. Not only the experience of unity but the experience of separation is the mother of man. The very feeling of melody at all depends upon our articulation of the separate parts involved. The movement is experienced as it arises from a constant disequilibrium and ceases when it is integrated. Between there and here or then and now , the flame of life, our spirit, leaps.

A troubled flame: " The time in composition is a thing that is very troublesome ," Stein tells us - " If the time in the composition is very troublesome it is because there must be even if there is no time at all in the composition there must be time in the composition which is in its quality of distribution and equilibration.

An anxious flame: " In totemic magic the destroyed mother is re-animated and in the totemic sacrament, eternal union of the mother and child is effected ," Roheim tells us. But the eternal separation of the mother and child is also celebrated therein. There is a poetry, which, as you know, is complex and manifold.

All creation or passage of non-being into being is poetry or making, and the processes of all arts are creative; and the masters of all arts are poets or makers What are they doing who show all this eagerness and heat which is called love? The object which they have in view is birth in beauty. They live in a place in the sky. Their long hair almost covers them and on their pendulum breasts are swarms of spirit children who gather their sustenance therefrom. These women are the source of all life, each within her tribe producing spirit children of her own moiety.

In the communication of the story the narrator and the listeners have their source and all life has its source and draws eternal nourishment. From time to time they reidentify themselves with the eternal in them. In the rites that Roheim sees as denials of dependence, we see the dancers reviving the human reality in all that is disturbing to union, involving themselves in, insisting upon, and taking their identity in, the loss of their identity, keeping the rime of their separation alive in the sound of their unity, rehearsing their exile in the place where they are. The flame springs up in a confusion of elements, times, places.

For the Freudian, it all rests in a " psychical survival of the biologic unity with environment.

The "Mother" is now the World, and the "Child" is the Self. The World is revealed as a "Creation" or "Poetry" or "Stage", and the Self, as "Creator" or "Poet" The man or the hero begins his life that demands something of him, a wandering in quest of something known in the unknown.

Taking with him the quest itself as his Mother, as the Australian takes the tjurunga or the devout Kabbalist the Shekina, he is to be most at home in his exile. Roheim telling about his Australian natives does not mean to initiate us into the Aranda but through his creation of the Aranda in our minds to initiate us into the psychoanalytic. The old men prancing, bleeding themselves and showing their private parts; the emu ancestors, the eternal ones who come in the dream, the primordial Mother and Child, are people not of the Australian bush but of a creative book, haunted by " the wanderings of human beings from the cradle to the grave in a web of daydream ," as the author of this mankind himself wanders in a web of psychoanalytic reverie.

The old and decrepit men of the tribe become young and glorious once more. Mankind, the eternal child, splendide mendax, rise above reality The path is Eros, the force that delays disintegration; and hence the promise held forth in the daydream and in its dramatization is no illusion after all. The tjurunga which symbolizes both male and female genital organ, the primal scene and combined parent concept, the father and the mother, separation and reunion This tjurunga we begin to see not as the secret identity of the Aranda initiate but as our own Freudian identity, the conglomerate consciousness of the mind we share with Roheim.

The whole story is "daydream", a "web", and we are not sure that because the path is Eros, the child, but he is also splendide mendax , a glorious maker of fictions, in which all the conglomerate of what Man is might be contained.

History itself, no longer kept within the boundaries of periods or nations, appears as a mobile structure in which events may move in time in ever-changing constellations. Present, past, future may then appear anywhere in changing constellations, giving life and depth to time. The Composition is there, we are here.