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Cytat
Do celu tam się wysiada. Lec Stanisław Jerzy (pierw. de Tusch-Letz, 1909-1966)
A bogowie grają w kości i nie pytają wcale czy chcesz przyłączyć się do gry (. . . ) Bogowie kpią sobie z twojego poukładanego życia (. . . ) nie przejmują się zbytnio ani naszymi planami na przyszłość ani oczekiwaniami. Gdzieś we wszechświecie rzucają kości i przypadkiem wypada twoja kolej. I odtąd zwyciężyć lub przegrać - to tylko kwestia szczęścia. Borys Pasternak
Idąc po kurzych jajach nie podskakuj. Przysłowie szkockie
I Herkules nie poradzi przeciwko wielu.
Dialog półinteligentów równa się monologowi ćwierćinteligenta. Stanisław Jerzy Lec (pierw. de Tusch - Letz, 1909-1966)
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.This tragic generosity results in her own kidnappingand seems to point to a moral of not trusting and to a moral of nondisclosure.In this case the goddess grants the two demons their request and theybecome immediately exceedingly arrogant.They use the boon to draw to them-selves all the words in the world.As they make good on their boon, the worldbecomes mute. That Goddess Sarasvat%2ł, with her shining form, who is theform of all the words, manifesting in her divine body, she abandoned themouths of all the sages.She was forced to come to the awful house of those twopowerful demons.Crying and helpless, they led her to an enclosure under-water in the hell called Patala.Having made a pit with the poison calledhalahala, mixed with dark water, there they tied her up with ropes made fromsnakes and submerged her. 12 how the blue goddess of speech turns blue 135When the demons exercise their boon, all the words leave the mouths ofthe sages and become bodily manifest in their original divine body as the shin-ing goddess Sarasvat%2ł.She is the bodily and primordial signifier, the bodily lifeconstituting words, their very form (sabdarupip%2ł).13 As they attract the words,it is she who, as the text tells us, abandons the mouths of all the sages. Withthis the world is left mute.This works to the advantage of the demons, sincethe gods are strengthened when humans recite the Vedas, and if humans aremute, then the gods get weak, without their word-nourishment.At this point the metaphor of rape is enacted.This goddess, as the bodiedform of words, crying, is led by force into her prison in the hell realm of Patala,submerged in a poisonous watery abode.She is tied up with ropes made ofsnakes.We can note here that the visualization that the BT gives for the BlueGoddess of Speech that we will see in appendix 2 also depicts her adornedwith a variety of different-colored snakes.14 Here, in the meantime, the curiousboon missile leaves a void of meaning in its wake. With the arrow of thedemons attracting all the words on the surface of the earth, with this arrow, thetwice-born ones (upper castes), became speechless.They forgot the Vedas.Inthis way by forgetting the mantras, the feminine magical speech (vidya) inthesacrifices were banished.With the sacrifice destroyed, deprived of their share[of the rites], the strength [of the Gods] waned. 15With this, the sages become speechless.Brahmins cannot remember theVedas any longer.They forget the mantras, and female magical speech (vidya)also no longer has a place to dwell.The gods are then deprived of the nour-ishment they gain from the sacrifices of humans and they lose their strength.Through a metaphoric capture and rape of the woman, Horse-neck and Moonyare able to strike their greatest blow against their male foes, the gods.In thissense, the demons deprive the gods of a voice, and political power, by literallyabducting the woman who is the source of all speech.It may be jarring for Westerners to imagine this odd shift where thetemporal becomes spatial, where language as a phenomenon through timeis presented visually, physically anthropomorphized as this shining god-dess.This, of course, recalls the bodied feminine word (vidya) as goddessesdancing on the toes of the Blue Goddess of Speech, in the myth presented inchapter 4.The myth here seamlessly and visually underscores this identityof goddess as word.The goddess is language; she is not a goddess of lan-guage.She is not an abstract principle, but the very words uttered in humanmouths.The irony of silencing the very source of speech manifests a profoundlyrich web of meaning.On the one hand, the literalness of imagining wordsas a body recalls our discussion of bodied speech in chapter 4, with its 136 renowned goddess of desireimplications of feminine bodied language as a potent and primordial perfor-mative speech speech that makes things happen in the world.On the otherhand, it also evokes the image of woman as being subject to a male violencethat can only leave her mute, without language, a silencing of women, which isboth effect and source of the violence given to them.The moral here is loudlypronounced, since the abuse given to the woman here results in the wholeworld becoming mute.That the world itself becomes speechless in the face ofthis abuse evokes both the idea that the natural response to violence is speech-lessness for those who witness it, and also that the people in the world allof life are interconnected.This roundabout way of disempowering thegods by depriving humans of speech highlights the interdependence of hu-mans and gods, with the contractual nature of speech as the conduit.Henceviolence given to the woman cannot help being felt also as the loss of speecheverywhere.Meanwhile the two demon brothers sitting tight in their underwaterhouse do not yet realize they are marked men and that the great god Viqpudecides to take his incarnation as a thousand-toothed fish to disrupt their word-abduction scheme. In this way, having put to flight all the wise persons,Hayagr%2łva and Somaka remain in their house inside the ocean.[Meanwhile]they are marked by Viqpu s discus [as demons to be destroyed].Then Viqpu,the eternal lord, takes the form of a great fish. 16This would sound like prime material for an action film, if the meta-phorical and metaphysical implications of tying up language were not so boldlytransgressive of our notions of categories.The images we see move fluidlyacross linguistic registers; the demons tie up words as though they werematerial objects which, in this case, as an embodied goddess, words are ma-terial.The image of using arrows to draw away words from mouths functionssimilarly.Tying up words and using arrows to draw away words from humanmouths fluidly moves across linguistic registers.In itself it offers a type ofcategorical wildness not familiar to the West.17In any case, the text appears clearly Vaiqpava here, reminding us with anecho from the Bhagavad G%2łta, that age after age Viqpu incarnates for the sakeof uplifting the world. Just as with the boar incarnation, submerged in theocean, eon after eon he saves the world.In the same way the lotus eyed lord inthe form of a fish, moving to and fro, stirred up and flooded the city under theocean. 18Viqpu dives into the ocean, splashing water into the underwater prisonand then morphs into a more battle-ready form, sprouting four arms and hisaccustomed retinue of weapons, especially including the discus, and then en-gages in a battle that lasts one thousand years.19 how the blue goddess of speech turns blue 137The Dark Defiled Body: A Tantric Response to Being BlueIn the battle that ensues, the chivalraic Viqpu saves the Blue Goddess ofSpeech.On the one hand, she appears not so distressed by her ordeal; she issmiling (smita). Hari spoke to Sarasvat%2ł, who was smiling.She20 sang first themagical feminine words of the three Taras which are the root of all proce-dures with mantras.The Goddess with this obtained for us that knowledge.[Viqpu said,] You have become blue in the middle of the pit of poison, [but]your limbs are complete and full, and your lotus face is smiling. 21Her bondage in the midst of the pit of poison has turned her blue, and inher own eyes, marred her physical beauty.Whereas before she was white, shehas after this ordeal become blue (n%2łla), that is, dark skinned
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