American Society Today, Dehumanized - "Run Lola Run" & "Pan's Labyrinth"

What Hath We Wrought? American Society, News, War, Nature & Virtue “Pan’s Labyrinth” was heart wrenching, terrifying and extremely difficult to watch – but that was the purpose. The Spanish Civil-War was one of the first wars that was covered by the media – but no one can fully comprehend the tragic violence of war unless they get the full picture, which would not be allowed in the papers because of political censorship or editorial discretion. Today we are seemingly bombarded with news of violence, shootings, murders and updates on our war in the Middle East --- but we have become numb to these images and stories. War does not seem very devastating or horrific from our living room televisions, in the palm of our hands from Blackberry news alerts or splattered across the front page of the New York Times while we scarf down breakfast. War has crippled America financially, politically and socially – but the malevolence and murder of war is the least of our worries, so long as we regain economic stability and increase our GDP. Having been raised in a very Conservative household, I have tended to blindly support war and foreign policy that was ruthless for the sake of America’s continued prosperity – but pieces like ‘Pan’s Labyrinth,’ and Picasso’s ‘Guernica’ have impacted me. As I watched the film last Thursday, I was overwhelmed with feelings of horror, disgust, sorrow, dread and disbelief at the inhumane truths of war – fighting back tears over Ofelia’s selfless sacrifice for her brother, so wise beyond her years and morally upright despite any vengeful sentiments towards her brother over the death of her mother. The story of war from a child’s perspective really affected me, so much so I had to leave in the middle and call my mother, sobbing about how awful war really is. American society needs to be slapped in the face, as I was, with the reality of war in order to realize the insanity of our society that dismisses the killing of soldiers AND innocent civilians as “acceptable” in times of war. Society, war and culture are not a part of nature as human beings are; these ideologies are the manifestation of man’s free will and nature that allows us to think. Isn’t it ironic that the societies and cultures man has created sacrifice humanity itself? Wars, murders and injustice in the world exceed the natural process of “survival of the fittest,” – people today are willing to kill their neighbor to increase their monetary value, even though money has no true value in nature, only the economic value that man has created. Wars have been fought endlessly over the course of history, so many brutal killings that one cannot even begin to name them – killings in the name of religious beliefs, money, lust, fear, business and fame. ‘Run Lola Run” shows “what if,” alternate endings to the benefit or detriment of a person’s life when faced with having to choose between money (or other material goods that society values) or virtue (truly valuable parts of life and humanity). However – both of these films also illustrate the startling reality that after you make your decisions and suffer the fatal consequences, there is no second chance - - death is final and permanent! Once man is lost, dead and gone – there is no use for materialistic goods, politics or discrimination as nothing else matters – man is futile, even if he possesses all the riches in the world, if he is without LIFE.

Humanity was able to advance and progress through stories, culture and societies – but now the value of humanity has been lost, only through stories can we attempt to illustrate the backwardness of society and the changes that need to be made to renew truth, morality and justice for humanity. America and societies all over the world need to rediscover the undeniable value of life, humanity and altruism – these things cannot exist when materialism, war and injustice disillusion our reality.

"Pan's Labyrinth"

2. “Pan’s Labyrinth:” The Importance of Storytelling for all Humanity…

I found this film to be quite disturbing, but extremely powerful for several reasons: (I) Graphic violence reminiscent of ‘The Ogre’ to emphasize the dehumanization and atrocious reality of war on humanity.

(II) Fantasy of fairies and magic connect to Grimm’s Fairytales, teach moral lesson also.

(III) Dante’s ‘Inferno,’ fiction is used to illustrate a truth.

(IV) Like ‘Don Quixote’ “Pan’s Labyrinth” also illustrates the dangers of fiction – with a twist.

(I) In Tournier’s ‘The Ogre,’ we were engulfed in the world of the disillusioned, ostracized and myopic vision of Abel Tiffauges. The graphic recollection of the guillotine, burning of children, countless beheadings and defecation make the novel one of disgusting descriptions that paints vivid images in the imagination of the reader. In ‘Pan’s Labyrinth,’ we physically see the gory reality of Civil-War Spain’s war torture, family life and vicious atrocities. The graphic nature of each of these works is a reflection of the dehumanizing historical events of Nazi Germany & the Holocaust, as well as the Spanish Civil-War, which killed more than 300,000 people. War, violence, political and religious purges are rampant in the history of civilization – but these things are also a rejection of human nature. Man – created society, religion and discrimination not by nature; by killing other people we are rejecting the altruistic, co-dependency that is innate to humans. The injustice that humanity has wrought upon itself need to be illustrated in such a shocking manner to help the public understand the futility of war, murder and discrimination – the heart-wrenching tragedy and violent atrocities that have been both the catalyst and the byproduct of rifts in humanity and culture. Man created society, but man comes from nature – society, culture and war counteract the natural order and rhythm of humanity.

(II) Storytelling is central to every culture – morals, lessons and expectations are passed down through generations through stories. Children grow up on these stories, and in listening they learn, imitate and enjoy the stories of their culture. ‘Grimm’s Fairytales’ were written in Germany to help provide a sense of “national identity” – but these fairytales have probably weighed more heavily an influence on American culture and children stories. Fairies, magic, princes and princesses are the basis of these tales which provide some sort of lesson – although the Americanized versions are much happier than the original tales. In ‘Pan’s Labyrinth,’ young Ofelia encounters a magical fairy that leads her to a “faun” in the woods – the woods are a typical setting in Grimm’s Fairytales, usually where the children get into some sort of trouble. Ofelia’s “magic book” gives her a series of obstacles that she must perform in order to become a princess – there is always some sort of obstacle to overcome for the children in ‘Grimm’s Fairytales,” with the promise of a reward at the end. Ofelia encounters trouble when she does not listen to the faun’s instructions and eats the fruit (almost getting killed) – this is reminiscent of the story in Genesis that illustrates the Fall of Eden, when Eve eats the forbidden fruit in the garden. Here, a lesson is learned: Listen to your elders, do not disobey or bad things will happen. The film includes many magical elements including: the piece of chalk that draws doors to escape through, the vegetable that tried to become human, the labyrinth, etc. The protagonist, Ofelia, faces many obstacles and challenges that lead her to a “happily-ever-after-ending,” (sort of) and her destiny is fulfilled. There are many lessons learned,

(III) Fairytales, myths and books like Dante’s ‘Inferno’ use fictitious stories to illustrate truth. In the ‘Inferno,’ Dante’s journey through hell with Virgil is not a literal journey, instead it depicts man’s struggles and moral dilemmas that are daily occurrences in our collective “journey through life” to achieve salvation. In the same way, “Pan’s Labyrinth” is a suspenseful, exciting ride through Ofelia’s adventures in the labyrinth and her family life that revolves around the turmoil of the Spanish-Civil-War. Ofelia is faced with so much tragedy as a child; her father is a symbol of violence and war, her loving, sickly mother dies in childbirth and her mentor, Mercedes, is in constant danger because of her political alliance with her father’s “enemy.” Ofelia is a child, but she deals with adult situations that threaten to dissolve her imagination and happiness – even though she is a child, Ofelia is able to rise above the frightening authority of her father in recognition of what is truth and virtue. Many young children would simply obey their fathers out of fear, especially Ofelia’s father who only values the life of his son, but instead she bravely risks her life to defend the future of her brother, moral virtue and truth of humanity in her “fairytale adventures.” Ofelia ends up dying as a martyr for her cause, but her death leads to the death of her evil father and the salvation of her newborn brother and Mercedes – she plants the seeds for peace in the aftermath of war.

(IV) Don Quixote lived his life according to the fictitious knights and tales of chivalry that he read about – Ofelia lived her life according to the fantasy-world of ‘Pan’s Labyrinth’ and the prospect of becoming a princess. In both cases, I whole-heartedly believe that the protagonists became immersed in their fantasy worlds because the reality of society was unbearable and atrociously adverse to virtue. Thinking about Ofelia, it breaks my heart, reminding me of some of the stories my mother told me about her childhood with an alcoholic mother. She too would make up fairytale stories and adventures to indulge in, pretending these tales were reality, in an attempt to compensate for the scary truth of growing up amidst an alcoholic mother’s rage, torment and unpredictability. Ofelia was escaping from the horror of her violent father, who made it very clear that he was not concerned about the welfare of his wife or daughter – only that of his son. He also tortured his prisoners of war, brutally killed many civilians including the doctor and seemed to completely lack any sort of “human-emotion/mortality” as he survived being stabbed in the heart and quickly stitched up his slashed face. Ofelia’s father was more like a war, killing machine than a man – she stood no more a chance at survival under his command than any of his servants in the house. This helplessness increased tenfold upon the death of her mother and capture of Mercedes – without the outlet of Ofelia’s fantasy world she would have succumbed to the terror of her father. Although America’s Disney fairytales originated from ‘Grimm’s,’ they are much happier and do not hurt children unlike many of the original versions – in ‘Pan’s labyrinth,’ Ofelia dies in order to become a princess seated next to her dead mother, the queen. Although this ending seems terribly morbid and tragic in comparison with Disney’s fairytales, it reflects the harsh reality and relentless atrocity of war. The fantasy world that Don Quixote lives in also leads to his death, but his reality is much less dismal than Ofelia’s. This emphasizes the notion that the violence and atrocities of death that come from war are the antithesis of life, truth and virtue; Ofelia’s death was necessary for the future morality, truth and life of her newborn brother, freedom of Mercedes and end of the violent war through the death of her father. If Ofelia had not poisoned her father and taken her baby brother to the woods, her father probably would not have shot her that night, but the war would have raged on, her brother would be a carbon copy of her evil father and the atrocities would continue through the next generation.

"Run Lola Run"

1. “Run Lola Run” What Really Makes You Rich in Life, Second Chances…

I found this film to be very interesting and creatively manifesting the notion of “what if.” So many times in daily life we wonder how the outcome of a situation have differed had we made different decisions, but we will never know the answer.

“Run Lola Run” addresses crime, punishment, love, money, family, emotion, relationships, life and death. All of these things are a part of our own lives, and people make critical decisions every single day. In this way, reality was portrayed through realistic circumstances, emotions, relationships and obstacles. Fantasy was integrated with the unrealistic ability of Lola to experience three separate versions of the daily events. This begins when Lola is shot in the chest and killed by a police-officer after helping her boyfriend Manni steal the money he needed from a store – at this point she says “No, no, I don’t want to go – STOP!” This would obviously be impossible for someone dead on the pavement to do – but the three versions each showcase different decisions made by Lola that influence the outcome of the event.

Clip #1: Lola agrees to help Manni find the $100,000 he needs in 20 minutes – she does this by (1) Running to her father’s bank, begging for money but is refused, her father tells Lola that he is leaving her & her mother for his mistress. (2) Lola is crying, arrives to Manni but he is already robbing the store, she helps him and they get the cash and flee. (3) Only to be stopped by the cops moments after, where Lola is shot in the chest.

Clip #2: (1) Runs to fathers bank, infuriated at his rejection & conversation with mistress, robs the bank with father at gunpoint to receive $100,000. (2) Lola arrives at the scene with the money in time. (3) Manni is run over and killed by an ambulance in the street.

Clip #3: (1) Runs to fathers bank but is not in time, he has already left. (2) Buys one chip at a casino and wins $100,000 playing roulette. (3) Runs to Manni in time, he has already paid back his “boss” because he finds the homeless man who stole his money in the first place, trades his gun for the bag of $100,000. (4) Manni asks what Lola has in the bag.

I felt that clips #1 and #2 illustrated that sacrificing moral virtues (robbing the store), family (robbing father’s bank at gunpoint), and overall honesty for money leads to a terrible fate. This reinforces the truth that family, virtue and moral goodness are the things in life that “matter most,” while diminishes the value of money as an obstacle in the way of these things and a threat to the welfare of those we love.

“Spirals” are a recurring image in the film – the stairs, roulette wheel and replaying of each clip. I feel that these images are important to represent the circular motion of life and death, also “Fortune’s Wheel,” (karma) as a component in determining our fate, and the repetition of clips as a parallel of daily routines and patterns that we develop during our life. In “Run Lola Run,” these vital spirals are broken by death, provoked by money.

In my research, I found that the narrator of the film is a man named Hans Paetsch – famous for his voice in narrating children’s stories in Germany. This ties into “Grimm’s Fairytales” – the notion of stories influencing a culture, creating a national identity.

Finally, the way that each clip is “rewritten” reminded me of the way mythic stories are ‘rewritten’ in ‘The Ogre,’ – Tournier reshapes, splice-and-dices famous stories such as Adam and Eve in The Bible, St. Christopher, the apocalypse, and the historical accounts of the Holocaust in Nazi Germany to illustrate the detrimental impact that an immoral society has on the human condition. This ties in deeply with my response on “Pan’s Labyrinth.”

The Ogre Day 4 - Symbols, Red & White & Twins

Quotations that Contribute to my Explanations at the bottom of this page:

1. “For the first time in his life, Tiffauges had departed from the absolute secrecy he had always maintained about his joys and fears and discoveries – he did tell the old man about inversion both malign and benign, saturation, phoria and the heroes that embodied it,” (p. 301).

“Whoever sins by symbols will be punished by symbols! Tiffauges, you are a reader of signs – I could see it, and you have proved it to me. You think that in Germany you have found the country of pure essences, where everything that passes is symbol, everything that happens is parable. And you are right. Besides, a man marked by destiny is inevitably bound to finish up in Germany, just as a moth flying around in the dark always ends by finding the light that intoxicates and kills it. But you have much to learn – Up to now you have discovered signs on things, like the letters and figures one reads on a milestone. That is only the weak form of symbolic existence,”(p.302).

“Signs are strong, it is they that brought you here. Signs are irritable, and the symbol thwarted becomes a diabol. From a center of light and concord it becomes a power of darkness and division,”(p. 302).

“You still have to learn the height of this mechanism of symbols – the combination of those three figures in one, which is synonymous with the apocalypse. For there is a terrifying moment when the sign no longer accepts being carried by a creature as a standard is carried by a soldier. It acquires autonomy, it escapes from the thing symbolized, and – this is what is frightening – it takes over that thing!”(p. 302-303).

“When the symbol devours the thing symbolized, when the cross-bearer becomes the crucified, when a malign inversion overthrows phoria, then the end of the world is at hand,”(p. 303).

“Symbol, no longer ballasted by anything, becomes master of heaven. It proliferates, insinuates itself everywhere, and shatters into a thousand meaning that don’t mean anything anymore,”(p.303).

“You say you love Prussia, Monsieur Tiffauges, because signs shine with incomparable brightness in its hyperborean light. But you don’t yet see what this awful proliferation of symbols leads to. In the sign-saturated sky a storm is gathering which will be violent as an apocalypse, and which will engulf us all! (p. 305 – 306).

2. “Mirror Twins,” Red & White color Imagery

“Twins carry the despiritualization of the flesh further. It is no longer a matter of contradictory tumult in which souls neutralize one another. The two bodies really have only one concept between them with which to clothe themselves in intelligence and fill themselves with spirit,”(p.287).

“So they develop with calm indecency, exhibiting their creamy complexion, their pink down…”(p, 287).

“But when I saw what he did with them – that red flag with a big white circle inscribed with a crooked cross I suspected the worst. For that tottering spider, turning around on itself and threatening everything that comes into with its hooked class, is a blatant antithesis of the cross of Malta, radiant with serenity and the desire for peace! (p. 303).

“Don’t these red shapes and white ground remind you of something Tiffauges? Said the old man, pursuing his own thought. ‘What would you say if I made you a knight attached to my house, with a coat of arms alluding to mine…it was you, wasn’t it who recruited these boys?” “Armorial bearings of an Ogre…eating children”

“He gave them their insignia: two swords of red cloth sewn on the left side of their white habit…The three red swords on the white ground recalled the two swords of the Knights of the Sword plus the one sword of the Teutonic Knights.

EXPLANATIONS

All of these themes are tied together in the malign inversion of “signs.” It is in these pages that we see Tiffauges becoming so enwrapped in “symbols” that he is blinded by their true meaning. He does not realize this because – he is overjoyed by the fact that he is permitted to examine, hold, and recruit children constantly. Although – he is unaware that he is collecting these children to be killed. Tiffauges is used to children being afraid of him, so when the young boy screams and kicks at Tiffauges, telling him to “call off the dogs!” Tiffauges is unfazed….unable to call off the dogs if he tried, capturing Lothar Wuenstroth, and the mirror-twins which are a symbol within itself.

The pyramid that the boys make represents the Three Swords of Kaltenborn – This uniting of red and white in the form of a trilogy, is the ultimate joy for Tiffauges. The officer jokingly offers to make Tiffauges “armorial bearings,” (something to carry) but fit for an Ogre who eats children.

This also ties into the way children are increasingly described like food: The creamy complexion of the twins & Lothar’s “mauve pools of his eyes….pudding-basin cut,”(p. 309)

The red and white a strong symbol of blood, innocence – the “massacre of innocence,”(p.284).

The way that the Swastika was described was akin to a “a cross that fell victim to malign-inversion, laced with black death, hooks, venomous pursuits of a spider. This is a perfect example of what the Frenchman was referring to when he talked about the danger of signs when the become autonomous – Tiffauges was not reading into the blatant signs that he was killing the children that he loved so much. The Nazis symbolize the perversion of humanity in the pursuit of power, where the “cross-bearer becomes the crucified.” This malign inversion and devastating discovery of symbols brings out the truly sinister side of Tiffauges.

Also, Tiffauges is disillusioned in his love for Prussia and Germany - the French man illustrates how he is going to fall to the "intoxicating light that kills those who are drawn to it," and how "whoever sins by symbols will be punished by them!" This quote I thought was especially important -- Tiffauges is being punished because he has lived his life in symbols - he put his faith in all of the signs that he was only able to read at surface-level, unaware of the atrocities he was helping Hitler commit -- even against his beloved children, the only source of joy in his life.

The Ogre Day 2 - Theme 2: Sounds / bells

2. Senses: Sounds trigger actions

Throughout the Ogre, there have been “bells” and other sounds that trigger good or bad actions. (Bells are mostly indicative of bad things). For example:

-The bells that trigger punishment for students at St. Christopher’s; he dreads ringing the bell for fear of “colophus” from his teachers.

- Jovial children laughing and running around in the playground is his favorite –he records these sounds. (P. 95 – 96)

****The “bells” in Mme. Greignot’s voice when she speaks...Abel doesn’t like her at all, and she ends up testifying against him/likening him to Wiedemann as he is beheaded. (p. 111, 115, 117, 118 & 168).

***Sensual experience when Abel attends Wiedemann’s beheading; as though it is his own death, extreme sights and sounds arise from this scene. (p. 121).

-War in Germany is “audiovisual signs” (p.136)

-Terrifying scream of Martine when she is raped

“A flight of herons crossed the sky, their wings beating gently; a bell scattered its disjointed, mournful music into the wind. Tiffauges felt a strong bond uniting him to the place. To being with – and perhaps for a long time – he was its prisoner and it was his duty to serve it with his whole body,”

3. I also notices a few other themes to be interesting, especially the fact that, because Abel was always rejected from society – he is not afraid of what is to come at Nazi Germany, since he has always been on his own. This is good because he is able to adapt more easily, but it is also a sign of his innate “malice” that will contribute to his actions.

Irony: Feels the most freedom as a prisoner in Nazi Germany. (He is in a “forced” society) P. 162

Pigeons: “Sign bearers,” his “children,” – which he ends up eating, as Ogres do. Also, the pigeon is able to transcend the Germans when he flies away, just as Abel is not afraid or suffering, unlike the other officers. (P.153 & 154).

War/Chaos – Abel has flourished in this chaotic, disorderly environment – the restrictions of society are removed. He is even seen as a superior being because of his immense body (p. 160) also, he is offered a medal of honor from Col. Puyjalon, and vs. when he was in school he knew he would never win a medal.

*Similarly, he was extremely calm when he was accused of raping the little girl. Despite all the chaos and disorder he “couldn’t sleep because of happiness.”

*This also conflicts with the execution of Wiedemann, who was a murdered being killed – (possessor & possessed perversion) BUT Abel was not glad that justice was served; instead he was disoriented and badly effected by his execution (as Wiedemann is a part of Abel).

Injustice- Comments on the justice system that is unfair and provokes judgments/stereotypes to be considered in court cases, thus, justice is impossible.

Animalistic: Abel is content and happiest when with his pigeons in solitude. He is able to hold them in his hand, POSESS them. But, he becomes more like a beast in this way – less human. Just as war is more animalistic and primitive than modern society.

The Ogre Day 2 - Theme 1: Photography

1. Photography for Abel

Abel uses photography to create some happiness and joy that he has complete control over in his life. Snapping photographs and developing the film yield thematic ideas such as; “Godlike power,” inversion, sexual power, predatory power and the ultimate goal of being “the possessor and the possessed.”

Sexual power – Abel is unable to satisfy sexually because of his ambiguous sexual nature and underdevelopment. His camera is described in a manner that it is in essence his “genitalia,” as photographing these children and enjoying their jovial happiness, he indulges sexually (or as close to sexual indulgence as he will ever be).

“So on this fine sunny first of May, having breakfasted gaily and briefly, I set out on image-hunting, my camera lovingly stowed in its genital position...A waterman worked away furiously at the pump of a barge, and at each effort a yellow ejaculation streamed out at the waterline,”(pps. 104-5).

Predatory power – In taking photographs, Abel is “ensnaring” his prey without them knowing, and he also “kills” the person in the still frame of immobility.

“Telescopic lenses that enable one to operate from a distance, without any contact with the subject, kill what is most moving about taking pictures: the slight suffering that is experiences, together and from opposite poles, by the person who knows he is being photographed and by the person who knows he is known to be committing a predatory act, to be hijacking an image,”(P. 112).

Godlike power/Inversion- Abel has utter control over the “fate” of these images – he can manipulate them in any way he pleases, enlarge them, invert them, just as God has manipulated his life and existence.

“But it is from the enlargement of the image, and the possibilities this offers of inversion, that the most singular powers of the photographer derive. For it is not merely a matter of metamorphosis from black to white and vice versa…through photography, wild infinity becomes domesticated,” (p. 109).

Happiness/lost “Eden” – These photographs are the closest that Abel will get to “possessing” love/happiness. Society rejects his love of children and his appearance that set him apart as an outcast, so this is the lost paradise of old-Adam that he wished to return to, where he could be happy.

“I shall always love these images, bright and deep as lakes, into which I dive with abandon on certain lonely evenings. In them is life, smiling, pump, on offer, imprisoned in the magic paper, a last survival of slavery, that lost paradise I have not ceased to mourn,”(p.104)

“Photography promotes a reality into the plane of dream; it metamorphoses a real object into its own myth. This lens is the narrow gate through which the elect, those called to become gods and heroes possessed, make their secret entry into my inner Pantheon,”(p. 104).

Malign Inversion/possessor-possessed- Old-Adam was both “possessor and possessed,” in his hermaphroditic state. With photographs, Abel is “full/satiated” (hunger) with these photographs of children and the power he has over them. But when he has his mug shot taken, it is ironic because it’s perversion of how he wants to be possessed (malign inversion).

“Then I was photographed in full face and in profile – I, the stealer of images! Absurd and malign inversion!” (p. 124).

The Ogre Day 1 - "Rewriting Adam & Eve"

Question 5: Abel’s “rewriting” of Adam & Eve Myth:

Abel is fascinated with sexuality and his own sexuality cannot be confined to merely homosexual or heterosexual. In this way, Abel’s illustration of the originally hermaphroditic Adam is the primal sexual state that he wishes to encapsulate. Abel is a social outcast, and this sexual fluidity disables him from living happily with Rachel, and homosexual tendencies would make him even more monstrous, unable to reproduce. The "Edenic-Adam," prior to Eve, is the closest embodiment of the ogre’s sexual experiences; he sees the old-Adam’s solidarity and potency as the ultimate.

“One cannot escape the more or less conscious fascination of the old Adam, armed with all his reproductive apparatus, having to lie down, perhaps incapable of walking, certainly of working, a constant prey to amorous transports of unimaginable perfection, in which he was both possessor and possessed, except – who knows? – During the periods when he was pregnant by himself. And then what must our fabulous ancestor have been like, man-cum-woman become cum-child into the bargain, like one of those nests of dolls that fit one inside the other!”(P.17)

Abel’s latter description of our “fabulous ancestor” is crude, but the comparison drawn between hermaphroditic Adam and Russian Nesting Dolls is poignant. Just like the nesting dolls, Abel has many layers to him; he is a complicated compilation of experiences and beliefs as an outcast of society. The fact that Abel rejects society makes the multitude of layers to be even more dense and complicated, as his ideas and fascinations are much different from ours as a part of society.

Abel desires to be happy in an Eden of potent solitude, as the old-Adam had lived, before the fall of man. Abel rewrites the Biblical fall of man to be the breaking of original Adam into three “unfortunates.”

“For if there is a fall of man in Genesis, it is not in the episode of the apple: on the contrary, the acquisition of knowledge of good and evil is a step upward. No, the fall consists in the breaking into three of the original Adam, letting fall woman and child from man, and thus creating three unfortunates: the child, eternal orphan; woman, solitary and afraid and always in search of a protector; and man, light and alert, but like a king stripped of all his attributes and made to work at degrading tasks,”(p. 17).

These three unfortunates are unable to exist in complete solitary happiness, each lacks important qualities that the other possesses, however; one cannot be happy with the burden of all of these qualities in solitude. God made Eve in removing all of the sexual parts of Adam, as hermaphroditic sexual parts were too “cumbersome” for one person. Abel rejects marriage, as an attempt to reunite what was disassociated by God, “Let no man join what God has put asunder!”(p. 17).

Abel’s rewriting and rejection of marriage is pessimistic, undoubtedly rooted in his own discontent and unusual nature. God divided Adam because all the necessary hermaphroditic parts rendered him immovable and miserable; in separating these parts the need for another person (namely, female) was created in order for reproduction. The child is the product of these natural needs and actions, yet all three are unhappy because of traits that the other has, and they are without. Woman is fertile and capable of birthing children while men are unable to become pregnant, conversely, women are afraid and in need of a protector whilst men are able to protect themselves. This tit-for-tat perpetuates desires, discontent and need.