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Andrei Tarkovsky

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Art is born and takes hold wherever there is a timeless and insatiable longing for the spiritual, fr the ideal: that longing which draws people to art. Modern art has taken the wrong turn in abandoning the search for the meaning of existence in order to affirm the value of the individual for his own sake. What purports to be art begins to looks like an eccentric occupation for suspect characters who maintain that any personalised action is of intrinsic value simply as a display of self-will. But in an artistic creation the personality does not assert itself it serves another, higher and communal idea. The artist is always the servant, and is perpetually trying to pay for the gift that has been given to him as if by a miracle. Modern man, however, does not want to make any sacrifice, even though true affirmation of the self can only be expressed in sacrifice. We are gradually forgetting about this, and at the same time, inevitably, losing all sense of human calling (p38)

 
Andrei Tarkovsky

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To believe in God is to long for His existence and, further, it is to act as if he existed; it is to live by this longing and to make it the inner spring of our action. This longing or hunger for divinity begets hope, hope begets faith, and faith and hope beget charity. Of this divine longing is born our sense of beauty, of finality, of goodness.

 
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Modern anthropocentrism inevitably meant that He who allegedly endowed man with his inalienable rights began to disappear from the world: He was so far beyond the grasp of modern science that he was gradually pushed into a sphere of privacy of sorts, if not directly into a sphere of private fancy — that is, to a place where public obligations no longer apply. The existence of a higher authority than man himself simply began to get in the way of human aspirations.

 
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A modern philosopher once said: "Only a God can save us now."
Yes, the only real hope of people today is probably a renewal of our certainty that we are rooted in the earth and, at the same time, in the cosmos. This awareness endows us with the capacity for self-transcendence. Politicians at international forums may reiterate a thousand times that the basis of the new world order must be universal respect for human rights, but it will mean nothing as long as this imperative does not derive from the respect of the miracle of Being, the miracle of the universe, the miracle of nature, the miracle of our own existence. Only someone who submits to the authority of the universal order and of creation, who values the right to be a part of it and a participant in it, can genuinely value himself and his neighbors, and thus honor their rights as well.

 
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Stevens' way of informing us comes in language and imagery so radically different from previous times that it is difficult to recognize exactly what he means. But throughout his poetry he speaks, like the mystics, primarily of the nature of our relationship with the universe. He continually circles back to the idea that we actively participate in what the world looks like and what it means. Although cast in modern terms, this idea is profoundly spiritual and moral.
Since he gives no evidence of any direct visionary experience, it's not possible to say Stevens is a "mystic" or a "contemplative" poet. But he is a major figure in modern poetry because he synthesizes the concerns of the modern world — the emphasis on the human self as maker of meaning, the emphasis on scientific rationality, the emphasis on creating new forms to replace outmoded beliefs — with the perennial concerns of the human spirit. To find meaning, or the good — or by implication, God — we need to radically adjust our conception of reality. This takes powerful acts of individual imagination, and the possibilities are immense... Contrary to all appearances, to the difficulty of his verse, and to the preoccupied, distracted interpretations of contemporary critics, Wallace Stevens' poetry is a profoundly spiritual force. Anyone interested in the spiritual problems of modern humans must reckon with it.

 
Wallace Stevens
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