Tuesday Tuneup 54

Q. What are you doing here?

A. Contemplating life.

Q. Why?

A. Because I agree with Socrates, quoted below:

socrates.jpg

Q. What brought this on?

A. Transition.  I’m at a cusp between two stages in my journey.

Q. How do you figure that?

A. By observing the nature of the stage that is to pass, and envisioning the far greater nature of the stage that is to come.

Q. What is the nature of the stage that is to pass?

A. It is a stage based on fear.

Q. Fear of what?

A. Lots of things.  People, for one thing.  People’s opinions, for another thing.  People’s opinions of me, for a third thing.  But it all boils down to fear of death.

Q. Why be afraid of death?  Isn’t death a universal human experience?

A. Pretty much.  Even Jesus had to die, though He came back again, in eternal form.   Enoch and Elijah apparently escaped it.  People who believe in the “consummation of the saints” (AKA the so-called ‘rapture’), might escape it as well.  The jury’s still out on that one.

Q. Then why be afraid of it?

A. My experience is that those who are afraid to die are generally afraid to live.

Q. Have you been afraid to live?

A. Yes.  Especially throughout the past three years.

Q. What happened during the past three years?

A. I escaped twelve years of living in very sketchy situations, most often outdoors, in favor of living mostly alone in secure and secluded indoor dwelling spots.

Q. But wouldn’t that logically make you less afraid to live?

A. Logically, yes.   But what happened was not logical.

Q. What did happen?

A. I kept clinging to the old stage.  I kept living for the approbation of those from whom I had already departed.   Even though the new stage was crying out to be christened, I hesitated.  I clung to the old stage like a baby clinging to his mother’s breasts.

Q. So you were dependent upon the old stage?  Like a baby depends upon a mother?

A. Yes.  But not entirely of my own will.  It took two to dance that dance.  The possessive, overprotective mother of the Old Stage would not let me go.

Q. And now you are escaping her grip?

A. I can feel it, yes.   I’m not her baby anymore.  

Q. So the mother of the old stage was fear?

A. Yes.

Q. And who is the mother of the New Stage?

A. Love.  If you love someone, you let them go.

Q, So the old stage was a stage of fear, and the New Stage will be a Stage of Love.

perfect loveA. Yes — Love.

Q. Say again?

A. Love!

Q. One more time — 

A. LOVE!

Q. How so?

A. Because Perfect Love casts out fear.

 

                                                      The Questioner is silent.

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Tuesday Tuneup 36

Q. Where would you like to be?

A. In a place of greater resolve.

Q. Resolve?

A. Yes, resolve.  That is to say, resolution.

Q. What is it that needs to be resolved?

A. A dissonant progression.

Q. And how can this dissonant progression be resolved?

A. With a consonant cadence, obviously.

Q. Are you not speaking in strictly musical terms?

A. Not strictly. I use the musical analogy of a resolving cadence as a metaphor to the dissonance that needs to be resolved in my life.

Q. What do you find to be most dissonant?

A. There is discord between the nature of my relationships with those whom I know today in this town, and the nature of my relationships with long-term friends and family in the place where I used to live.

Q. How does that discord sound?

A. Ugly.  

Q. Do you feel you have the power to resolve it?

A. Yes and no.   I have creative power, as the composer of my life, to resolve any discord I wish to resolve.  That’s the “yes” part.

Q. And the “no” part?

A. I just haven’t found the right chord yet.  I don’t believe I can find it on my own.  It has to be given to me.  In a flash.   Once I find it, I will resolve the discord.  In so resolving the discord, I will complete this first movement to the Symphony of My Life.  And then, on to the Second Movement.

Q. How would you describe the feeling of the first movement?

A. Tumultuoso.

Q. And the second?

A. Grazioso.

Q. So all you need is a single concluding chord?

A. Yes.

Q. How best can you find that chord?

A. By subjecting the dissonance to proper theoretical analysis.

Q. You can do that, can’t you?

A. I can.

Q. Did you not receive very good grades in Music Theory and Composition at the Conservatory?

A. I did.

Q. Well then — what is the proper analysis of the dissonance?

A. It can best be symbolized as 20th Century Harmony morphing into a tension of atonality.

Q. What do you mean by atonality?

A. It lacks a tonal center.  In other words, I don’t know what key I’m in.  I only know that I’m in a different key than my old friends and family.  In fact, they all seem to be singing in the same key.  It’s an old key in my experience.  A minor key, associated with much sadness and despair.

Q. And you wish to resolve the piece in a major key?

A. Yes.  That would end the tumult, and usher in the 21st Century Harmony of Grace.

Q. So how do you get from the chaotic cacaphony of debilitating dissonance to the conclusive cadence of harmonious grace?

A. By reducing the power of the minor key in which my old friends and family members so sadly sing.

Q. You mean — you need to turn down their volume?

A. Now you’re getting it.

Q. But how can you have any power over the volume of their sadness?  Can’t you only turn down the volume of your dissonance?

A. By George, I think you’ve got it!  

Q. How so?

A. That’s the key!  I need to turn down my own volume.  They will then therefore turn down theirs.   

Q. Will you then find resolution to the dissonance?

A. Indeed I will.  For the dissonance will resolve into a major chord of unsurpassed, unprecedented power and joy.

Q. So your major chord will be stronger than their minor chord?

A. Ha!  They don’t stand a chance.

Q. And when will you go about turning down this great volume of yours?

A. Hmmm…. good question!  Off the top, I’d say, midnight of January 1st sounds about right.

Q. And how far down will you turn your volume?

A. All the way down.  

old newQ. Is this your New Year’s Resolution?

A. It is indeed.  Tired of having to prove myself to those guys.  They never let me know how they’re doing.  All they ever do is give me advice on how I ought to be doing.  And their advice no longer pertains to my reality.

Q. Why is that?

A. Because they’re still in the Old Story.  They just don’t know it yet.

Q. Why don’t they know it?

A. Because every time I contact them, I only engage the Age-Old Story.  

Q. Is this why they never hear the New Story?

A. Precisely.  No matter how loud I shout it, it is impossible for them to hear it.

Q. Why is that?

A. Because shouting at them is all part of the Old Story.

Q. And in the New Story?

A. I shout to the heavens.  I shout: “Hallelujah!”  Out with the Old – and in with the New.  The New Story has at last begun.

The Questioner is silent.

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