What is in a name?
1)What does passion look like when it is thrown upon itself. That is when it is shorn of any but a negative effect upon affect, and the generous side of he self? Negative is the sense that an affect saves its life- or allows for it, without ever wanting to contact it again. Negative also because passions has wanted to be affect, and keep them from the ability to be conscious, but there very attack in consciousness has destroyed that hope.
2)Such a passion clearly life in fear- scared to leave the follow halls of habit, where it feels save.
3) A passion suspended between a day to day life, and a wonder about death. Unable to real into its life- for fear of life.
4) That is what stalks this passion is the knowledge that it is open to the worse side of the force of life That is it absolutely open to the power or its instincts ad the powers of life t take control of it, and drive it this way and that.
5) Shorn then of its links to others via the affect (and it apostle consciousness) thespaaison has not where to hide save itself from life.
6)The problem f course is that it has utterly opened itself up to instinct. It took then on the clothes of life itself and acted as a life might . it acted n the hope that whatever it did it could blame life itself- blame instincts blame the personal hatreds with bubble within us, as the real cause. Sought then to using the odd living energy as the one force that understands a murder and allows for it.
7)And yet in doing his is forgot the real difference between itself and living. Life is in a sense about the finite It might then run across and seep into all sorts and kinds and husks of being, including passions, and is never restricted to any one of them, but in this quest, in this moving around and between it is rather oberservant of what people wear, and also jealous of itself.
8) There is no way therefore that it will not of noticed what passion did.
9)There is no way that it will not respond.
10) However that response is rather different it comes in two ways.
11) Firstly life traps passion in their very finite- that is in their name.
12) The recurring theme of Mutual friend is that Riderhood the drowned man of life wants always names. He knows or feels he knows there is power in a name.
13)The name is not for him a personality. He has too little grasp of what other are for that.
14)It is rather the point, the name of something finite or this bundle of tricks, this counter which can be reckoned up with and used the same is his ability to seep into sometimes life and demand that that life is of service to him.
15) Where others therefore take p the out clothes of life, life responds is aching for names, and demanding that hey are given.
16) Ones has an ability to shift against life as long as one avoid the finite trap. Once one accepts the kind of limited identity it gives the identity of you being you, a genetic or nominal being then it has control.
17)The name opens the key that ensures everything else within a nature is really lives. Names render to Riderhood therefore all that belongs to he passion. If I has the name…
18)Perhaps he name is not quite enough. The other unit of power to be reckoned with is that of identity. Headstone pitfalls into Riderhood's power, because he had taken up the clothes of life, in the attempt to blame life itself, leaving the clothes he had won in the river.
19) Riderhod’s power was then in finding those clothes. He found then the slough skins by which the man caught tin the habits of society, the hand of passion ha attempted to cast of to rejoin the community.
20)To become a savage member o love’s tribe is o leave society, and Headstone looking to take refuge in his old ways, had attempted to slough lives skin – and do so in such a way that it could always it need be blamed.
21)Headstone did this of course in the knowledge that society as a whole always looks askance at life, and always is keen to look down upon it or blame it. Passion in society is likely to be able to stitch up life; Pleas of passion are watered down by pleas of madness or please of instinct.
22)And yet the bundle itself , the cod skin of Riderhood gives that man who once finished of bodies his power. To find that bundle, to find the skin passion took is enough to control than passion. Passion needs to be able to use life – if life finds the point sit was used a, that is the junction point between its flowing river, and its story (it was caught up in the organ ‘fining’ and killing of among) then it controls passions.
23) Here of course live is always held. Although it uses always the finite and reckons up bodies t is itself always between them. To find then another attempting to also be in between is to find that other in its territory. It talks it looks, it precise or much better than the finite forces.
24) If the game is therefore snooping or falling between things, life wins out, and passion which attempted also to steal this from it, is caught.
25) Passion’s hiding in the refuge of habit is never (quite enough). Here will come a movement o a point when something happens, when some perception must take it up, and move it beyond itself, when it can no longer sit within the realm fits habit and must then move out.
26)The movement it does life is watching it. Life feels the echoes of the passion in perceptions- that is the echoes to the between space, after the other and before the self, in which life function and crows.
27)To be alive is necessarily to enter this space. It is therefore necessarily o live the habit and leave the secure and enter into the unknown. Life is that thing closest to the passion which lucks in the unknown (nearer than the body ever is).
28)To wage a way of it (which is very very easy to do, and very had to win) I therefore to wage a war also on reality.
29) That it is it to wage a war of the very process into which I function, the process where whatever I feel and whatever I currently am is ever all am. As I live others perceptions) keep in tumbling it- and life is lurking their.
30)Sooner or latter on some winters day, it come sulking into ones school therefore – and their will be no escape.
31)One is then dragged u the river, up the flows of living to its little house. One is forced to listen to it. One is stalked y it.
32)It demands everything new is or might be- it demands to leave one as a husk or less that a husk – a zombie, whose power as passion I sucked dry.
33)It demands then first and foremost all the time of ones life (a watch that one has left with the odd secret custodian of ones heart).
34) How can one then break this power- this riding of the unconscious or the mad of on nature bias the passions as they tumble into the elsewhere?
35)The trouble is that the usual power to do this is absence or its itself a rebuke – that power is the affect when the affect is removed.
36)Indeed at this point Headstone a man of passion s dragged between two rebukes. On the one and there is life, one wants to such dry, an on the other the lost affect- Between the two the one all to present and the other apparently utterly removed, passions are crucified.
37)That is once they have tumbled into the between space we must live within, and yet tumble into it form a position not of affect (and shorn of inner selfishness, and the assumption of this space by right)m it is left only with life- who claims the rights to everything claims to take power the life of the passions claims it more truly that passion could ever ape a life.
38)And yet in this horror in this position, this being caught be the nearside outside there is always moment or resistance. That silent present Miss Percher the faithful heart who always loved Headstone. This name which life itself always wants to destroy in a sense gives a focus to his resistance.
39) In life’s over flowing the one life, in the implicated others in the individuals ruin, then that individual that passion actually finds a voice. Riderhood creates then quite unconsciously an affect within the man of passion. H might not love miss Percher, but in her hopeless love for him, he sees a reflection of his love for Lizzy. The two become caught up in the same trap – an life feels then in their hopeless passion to be trapped in his power.
40) In this of course he is mistaken. This very loop between individuals is in a space not o simple life itself. it is in an affective space. That is that space far beyond being – the me in you, and the you in me, that is move or simply other that my base finite and doubles my own body, and my own influence in you (and does so in a way life might climax and wt which in its subtly will avoid all simple unifying ownership by life or the selfish self).
41)Bradley Headstone at the last therefore, and through the interjection of life, actually feels the affect. That is he feels effect or power of another love within him, and the need to take feelings he had tied only to Lizzy and use them elsewhere. In the name of this affect, his passion is folded back upon itself and complete. I become the ion grip or loop, the trap in which live is caught and killed.
42)Affects therefore in their ability to outflank life claim to control all finites whatever the range or power, provide the key in find in a me in a you, in sharing a body in action as you perceive and feel, we escape the need to be one thing, and the animating force of us all. We escape then our own lived trap and become to a degree eternal – an eternity that in the last moments of his life included Bradley Headstone within it.