God’s love for us is not the reason for which we should love him. God’s love for us is the reason for us to love ourselves. How could we love ourselves without this motive?
It is impossible for man to love himself except in this roundabout way.
If my eyes are blindfolded and if my hands are chained to a stick, this stick separates me from things but I can explore them by means of it. It is only the stick which I feel, it is only the wall which I perceive. It is the same with creatures and the faculty of love. Supernatural love touches only creatures and goes only to God. It is only creatures which it loves (what else have we to love?), but it loves them as intermediaries. For this reason it loves all creatures equally, itself included. To love a stranger as oneself implies the reverse: to love oneself as a stranger.
Love of God is pure when joy and suffering inspire an equal degree of gratitude.
Love on the part of someone who is happy is the wish to share the suffering of the beloved who is unhappy.
Love on the part of someone who is unhappy is to be ﬁlled with joy by the mere knowledge that his beloved is happy without sharing in this happiness or even wishing to do so.
In Plato’s eyes, carnal love is a degraded image of true love. Chaste human love (conjugal fidelity) is a less degraded image of it. Only in the stupidity of the present day could the idea of sublimation arise.
The Love of Phaedrus. He neither exercises force nor submits to it. That constitutes the only purity. Contact with the sword causes the same deﬁlement whether it be through the handle or the point. For him who loves, its metallic coldness will not destroy love, but will give the impression of being abandoned by God. Supernatural love has no contact with force, but at the same time it does not protect the soul against the coldness of force, the coldness of steel. Only an earthly attachment, if it has in it enough energy, can afford protection from the coldness of steel. Armour, like the sword, is made of metal. Murder freezes the soul of the man who loves only with a pure love, whether he be the author or the victim, so likewise does everything which, without going so far as actual death, constitutes violence. If we want to have a love which will protect the soul from wounds, we must love something other than God.
Love tends to go ever further and further, but there is a limit. When the limit is passed love turns to hate. To avoid this change love has to become different.
Among human beings, only the existence of those we love is fully recognised.
Belief in the existence of other human beings as such is love.
The mind is not forced to believe in the existence of anything (subjectivism, absolute idealism, solipsism, scepticism: c.f. the Upanishads, the Taoists and Plato, who, all of them, adopt this philosophical attitude by way of purification). That is why the only organ of contact with existence is acceptance, love. That is why beauty and reality are identical. That is why joy and the sense of reality are identical.
This need to be the creator of what we love is a need to imitate God. But the divinity towards which it tends is false, unless we have recourse to the model seen from the other, the heavenly side…
Pure love of creatures is not love in God, but love which has passed through God as through ﬁre. Love which detaches itself completely from creatures to ascend to God and comes down again associated with the creative love of God.
Thus the two opposites which rend human love are united: to love the beloved being just as he is, and to want to recreate him.
Imaginary love of creatures. We are attached by a cord to all the objects of attachment, and a cord can always be cut. We are also attached by a cord to the imaginary God, the God for whom love is also an attachment. But to the real God we are not attached and that is why there is no cord which can be cut. He enters into us. He alone can enter into us. All other things remain outside and our knowledge of them is conﬁned to the tensions of varying degree and direction which affect the cord when there is a change of position on their part or on ours.
Love needs reality. What is more terrible than the discovery that through a bodily appearance we have been loving an imaginary being. It is much more terrible than death, for death does not prevent the beloved from having lived.
That is the punishment for having fed love on imagination.
It is an act of cowardice to seek from (or to wish to give) the people we love any other consolation than that which works of art give us. These help us through the mere fact that they exist. To love and to be loved only serves mutually to render this existence more concrete, more constantly present to the mind. But it should be present as the source of our thoughts, not as their object. If there are grounds for wishing to be understood, it is not for ourselves but for the other, in order that we may exist for him.
Everything which is vile or second-rate in us revolts against purity and needs, in order to save its own life, to soil this purity. To soil is to modify, it is to touch. The beautiful is that which we cannot wish to change. To assume power over is to soil. To possess is to soil.
To love purely is to consent to distance, it is to adore the distance between ourselves and that which we love.
The imagination is always united with a desire, that is to say a value. Only desire without an object is empty of imagination. There is the real presence of God in everything which imagination does not veil. The beautiful takes our desire captive and empties it of its object, giving it an object which is present and thus forbidding it to ﬂy off towards the future.
Such is the price of chaste love. Every desire for enjoyment belongs to the future and the world of illusion, whereas if we desire only that a being should exist, he exists: what more is there to desire? The beloved being is then naked and real, not veiled by an imaginary future. The miser never looks at his treasure without imagining it n times larger. It is necessary to be dead in order to see things in their nakedness.
Thus in love there is chastity or the lack of chastity according to whether the desire is or is not directed towards the future.
In this sense, and on condition that it is not turned towards a pseudo-immortality conceived on the model of the future, the love we devote to the dead is perfectly pure. For it is the desire for a life which is finished, which can no longer give anything new. We desire that the dead man should have existed, and he has existed.
Wherever the spirit ceases to be a principle it also ceases to be an end. Hence the close connexion between collective ‘thought’ under all its forms and the loss of the sense of and respect for souls. The soul is the human being considered as having a value in itself. To love the soul of a woman is not to think of her a serving one’s own pleasure, etc. Love no longer knows how to contemplate, it wants to possess (disappearance of Platonic love).*
It is a fault to wish to be understood before we have made ourselves clear to ourselves. It is to seek pleasures in friendship and pleasures which are not deserved. It is something which corrupts even more than love. You would sell your soul for friendship.
Learn to thrust friendship aside, or rather the dream of friendship. To desire friendship is a great fault. Friendship should be a gratuitous joy like those afforded by art or life. We must refuse it so that we may be worthy to receive it; it is of the order of grace (‘Depart from me, O Lord. . . .’). It is one of those things which are added unto us. Every dream of friendship deserves to be shattered. It is not by chance that you have never been loved. . . . To wish to escape from solitude is cowardice. Friendship is not to be sought, not to be dreamed, not to be desired; it is to be exercised (it is a virtue). We must have done with all this impure and turbid border of sentiment. Schluss!
Or rather (for we must not prune too severely within ourselves), everything in friendship which does not pass into real exchanges should pass into considered thoughts. It serves no useful purpose to do without the inspiring virtue of friendship. What should be severely forbidden is to dream of its sentimental joys. That is corruption. Moreover it is as stupid as to dream about music or painting. Friendship cannot be separated from reality any more than the beautiful. It is a miracle, like the beautiful. And the miracle consists simply in the fact that it exists. At the age of twenty-five, it is high time to have done with adolescence once and for all…
Do not allow yourself to be imprisoned by any affection. Keep your solitude. The day, if it ever comes, when you are given true affection there will be no opposition between interior solitude and friendship, quite the reverse. It is even by this infallible sign that you will recognise it. Other affections have to be severely disciplined.
The same words (e.g. a man says to his wife: ‘I love you’) can be commonplace or extraordinary according to the manner in which they are spoken. And this manner depends on the depth of the region in a man’s being from which they proceed without the will being able to do anything. And by a marvellous agreement they reach the same region in him who hears them. Thus the hearer can discern, if he has any power of discernment, what is the value of the words.
Benefaction is permissible precisely because it constitutes a humiliation still greater than pain, a still more intimate and undeniable proof of dependence. And gratitude is prescribed for the same reason, since therein lies the use to be made of the received benefit. The dependence, however, must be on fate and not on any particular human being. That is why the benefactor is under an obligation to keep himself entirely out of the benefaction. Moreover the gratitude must not in any degree constitute an attachment, for that is the gratitude proper to dogs.
Gratitude is first of all the business of him who helps, if the help is pure. It is only by virtue of reciprocity that it is due from him who is helped.
In order to feel true gratitude (the case of friendship being set aside), I have to think that it is not out of pity, sympathy or caprice that I am being treated well, it is not as a favour or privilege, nor as a natural result of temperament, but from a desire to do what justice demands. Accordingly he who treats me thus wishes that all who are in my situation may be treated in the same way by all who are in his own.
*Here ‘Platonic’ love has nothing to do with what today goes by the same name. It does not proceed from the imagination but from the soul. It is purely spiritual contemplation. Cf. later, in the chapter on Beauty. [Editor’s note.]
Excerpted from Simone Weil‘s Gravity and Grace. First French edition 1947. Translated by Emma Crawford. English language edition 1963. Routledge and Kegan Paul, London.
Album: Cable Hogue Soundtrack (1992)
Been listening to this band a lot lately. They originally began in 1962 as a musical theatre troupe, however the formation of the band was not until 1967 at Kyoto University. The band’s style is typified by simple, repetitious instrumental passages, shrieking, cacophonous guitar feedback, extensive improvisation reminiscent of free jazz, and folk arrangement. Their discography is made up mostly of live bootlegs, soundboard archives and even a few rare aborted studio recording attempts as they have never officially released any of their own material. [SOURCE]
Album: Caress & Violence (1987)
About their faux-French name:
“Les rallizes dénudés” is their international name, in Japan they’re known as “Hadaka no rariizu”… Hadaka no translates to nu or dénudé; rariizu is a foreign word (or combination of sounds?) that was transliterated to the French-sounding “rallizes” when they got their international, French-sounding name.So… From a mysterious foreign word to a Japanese approximation, then to a French approximation of the Japanese. May well have been Larrys… Might have been another word… Could be something else entirely, that has meaning only for them… In any case, better not look for a French meaning in it!
“The Naked/Stripped/Bare Larries/Rallies” would be the English approximation.
A brand new version of this song, made famous by Lee Hazlewood and the Grateful Dead. It was written by folk singer Bonnie Dobson.
The song is a dialogue between the last man and woman left alive following an apocalyptic catastrophe: Dobson has stated that the initial inspiration for “Morning Dew” was the film On the Beach which is focused on the survivors of virtual global annihilation by nuclear holocaust. The actual writing of the song occurred in 1961 while Dobson was staying with a friend in Los Angeles: Dobson would recall how the guests at her friend’s apartment were speculating about a nuclear war’s aftermath and “after everyone went to bed, I sat up and suddenly I just started writing this song [although] I had never written [a song] in my life”. Dobson premiered “Morning Dew” in her set at the inaugural Mariposa Folk Festival that year with the song’s first recorded version being on Dobson’s At Folk City live album in 1962. Dobson would not record a studio version of the song until 1969, that being for her Bonnie Dobson album.
“Morning Dew” was not published until 1964 when Jac Holzman of Elektra Records contacted Dobson with an offer to sign her as a songwriter as Elektra artist Fred Neil had heard “Morning Dew” and wished to record it. The first studio recording of “Morning Dew” appeared on the 1964 album Tear Down The Walls by Fred Neil and Vince Martin. It was this version which introduced the song to Tim Rose who in 1966 recorded “Morning Dew” for his self-titled debut album after soliciting permission to revise the song with a resultant co-writing credit. Dobson agreed without having any intended revision specified and was subsequently much discomforted to learn that the changes were minimal. As of the February 1967 release of the Tim Rose single version of “Morning Dew” the standard songwriting credit for the song has been Bonnie Dobson and Tim Rose: Dobson, who in 1998 averred she’d never met Rose (d. 2002), has consistently questioned Rose’s right to a credit.