"Heroic Reason", as translated by H. R. Hays, in Selected Writings of Juan Ramon Jimenez (1957) edited by Eugenio Florit, p. 231.
Context: A permanent state of transition is man's most noble condition. When we say an artist is in a state of transition, many believe that we are belittling. In my opinion when people speak of an art of transition this indicates a better art and the best that art can give. Transition is a complete present which unites the past and the future in a momentary progressive ecstasy, a progressive eternity, a true eternity of eternities, eternal moments. Progressive ecstasy is above all dynamic; movement is what sustains life and true death is nothing but lack of movement, be the corpse upright or supine. Without movement life is annihilated, within and without, for lack of dynamic cohesion. But the dynamism should be principally of the spirit, of the idea, it should be a moral dynamic ecstasy, dynamic in relation to progress, ecstatic in relation to permanence.
“Let us transfix this momentary eternity which encloses everything, past and future, but without losing in the immobility of language any of its gigantic erotic whirling.”
The Saviors of God (1923)
Context: All hopes and despairs vanish in the voracious, funneling whirlwind of God. God laughs, wails, kills, sets us on fire, and then leaves us in the middle of the way, charred embers.
And I rejoice to feel between my temples, in the flicker of an eyelid, the beginning and the end of the world.
I condense into a lightning moment the seeding, sprouting, blossoming, fructifying, and the disappearance of every tree, animal, man, star, and god.
All Earth is a seed planted in the coils of my mind. Whatever struggles for numberless years to unfold and fructify in the dark womb of matter bursts in my head like a small and silent lightning flash.
Ah! let us gaze intently on this lightning flash, let us hold it for a moment, let us arrange it into human speech.
Let us transfix this momentary eternity which encloses everything, past and future, but without losing in the immobility of language any of its gigantic erotic whirling.
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Nikos Kazantzakis 222
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