Philip Humm’s Very Last Faust

THE LAST FAUST — PHILIPP HUMM — NOVELLA — 2019

An extremely surprising and strange re-telling of Faust’s story in continuity from time to time twisted if not warped and eventual faithfulness to Goethe — the way he was in his own time but within a vast time expansion and distortion — and his Faust 1 & 2. The idea is to know how Goethe for one and how Faust for two would behave if they could live directly or via their descent in our modern times clearly centered on 2050, let’s say 2050. And that’s where the surprises start. What would Goethe be in today’s world? We can accept the idea he would still be a poet and a playwright, but he would also be a politician in Europe vastly engaged in diplomacy and foreign affairs. He would be crucial in crises like the Middle East and American-led wars in Iraq, Syria, Afghanistan, or American-armed wars like Yemen. But he would probably be engaged in the confrontation with Russia, the competition with China, and of course the construction of a unified Europe with a unified currency. That would make his mythological references slightly awkward, at times our of joint, to use a Shakespearian phrase.

But what about Faust? Faust 1 is the simple tale of an older man who manages to become younger thanks to some satanic magic and to seduce and consequently rape a young girl at the time probably under fifteen. That was not a crime for the man who did that at the time, but it was an attack on the honor of the family and any member of this family could take revenge for this stain on the honor of the family. It would also mean imprisonment of the woman and strict measures against her and to “protect” the child from her. But let’s be clear: the concept of rape did not exist in those days and under-age sex was probably not yet conceivable by any lawyer or lawmaker. Unapproved sex (meaning by the parents of the girl) was definitely a concept that could lead to all sorts of vendetta or other family feuds in some areas. Such sexual privileges attached to any one of a higher standing than the victim, have many names: jus primae noctis (right of the first night) is a limited illustration of it, but anyone who was a knight going through a village could just take any woman, girl or boy they wanted in the village and then ride away, leaving their victims behind of course. In France for one, and probably in many more countries, when the king was traveling and stopping in some local Baron’s castle, he was entitled to have the wife of this Baron, at times the daughter for his nighttime rest. When in an aristocratic family a child came from this night of cavorting, and the child was a boy, hence the heir of the title and estate, the coat of arms of the family could be crossed by a red band from top left to bottom right. For example, the coat of arms of the Baron of Olliergues:

That was a great privilege. Such facts only disappeared with feudalism that little by little got extinct in Europe either very progressively over a long period of time like in England, or rather abruptly with a revolution like in France.

It is quite obvious that a man who would only be centered on the women around him who he could desire, court and take freely, no matter what age they could be, would be considered as a chain rapist or serial rapist today, and that is a crime. Faust has no future as this lewd sex-oriented rape-maniac male. He would end up in an institution for sexual delinquents in civilized countries, but in some countries, with a compulsory medical treatment to kill his impulses, or in some others, a plain castration, physiological or chemical, and in quite a few countries, if not many actually, they would end up executed. That aspect is going to surprise you because we are little by little getting used to some kind of softened behaviors between sexes and among genders, leaving those who have strong impulses they can dominate with dematerialized pornography free to practice that “art” in acceptable conditions, isolation or group practice. But what we call child-pornography is out, and for this “art” eighteen is the normal age of consent, even if it is only some exhibitionism on a film or television.

If Goethe were writing his Faust 1 & 2 in our century, it would be completely different, and the references might be mythological but probably too using the popular media as a data bank for his imagination. Films, TV series, popular books, horror literature, etc. would be his hatching center for his character.

So, does Philipp Humm fulfill this approach? I would answer straight away with one word “creatively,” and then I can give some examples and make a few remarks. Let’s keep in mind Goethe starts his story based on the traditional Christian binary vision of the world with good and evil, hell and heaven, man and wife, day and night, etc., a binary vision entirely founded on Genesis 1 The beginning with only one side-exception: “16 And God made two great lights; the greater light to rule the day, and the lesser light to rule the night: he made the stars also.” (King James Version). But Goethe is not a fundamentalist and of course, he is Christian enough to know everything is ternary in the world, starting with God which does not only exist with his spirit but is a trinity, the Father, the Son, and the Holy Spirit. It is this fundamental ternary figure that is the dynamic engine of Faust by Goethe. Philipp Humm starts the same way with a binary vision that very fast is turning ternary and this time at all levels. The pair Faust-Wagner becomes ternary with Mephisto. The pair Mephisto-Faust turns ternary with Gretchen. The pair Gretchen and her mother turn ternary in two ways with Faust first and then with her brother. This last and fourth one will be killed by Faust to come back to the triplet and the death of the mother brings us back to the basic triplet of the story: the voyeur Mephisto, the rapist Faust and the victim Gretchen. And mind you, when she gets pregnant, she can only kill herself and the child to bring Faust back to the basic binary pattern with Mephisto, and ternary figure eventually with Wagner.

Philipp Hamm sets this ternary structure from the very start with the bet of God and Mephisto about who will win Faust’s soul. The bet — and God will win because he cheats — is in three stages:

GOD:

[Faust] My good servant!

If today his service shows confused, disordered,

With my help he will see the way clear forward;

Would you care to bet on that? You’ll lose, I tell you. STEP ONE

MEPHISTO: If you’ll give me leave to lead the fellow

Gently down my broad, my primrose path. STEP TWO

GOD: As long as Faust walks the earth

I shan’t, I promise, interfere.

MEPHISTO: Well thank you, Lord — it’s not the dead and gone I like dealing with.

By far what I prefer are round and rosy cheeks STEP THREE

The important element here is that the introduction of a third element in any binary situation or association brings the disturbance of a simple social order always based on an equilibrium between one side and the other, sin and good action, good and evil, etc. This idea is extremely Shakespearian because for Shakespeare the iambic binary beat is the tempo of peace and quiet, whereas the ternary music he introduces in all possible ways is the dynamic but disruptive dimension of life. When Hamlet is born, on the very same day, Fortinbras Senior is killed, and Fortinbras Junior is sent into exile. That’s the ternary nature of the disruptive arrival of a child in a couple that sends the whole kingdom of Denmark into rotting.

Then we could study the impact of the arrival of Homunculus between Faust and Mephisto as the disruptive creation by Faust and his assistant of the time. Then we could consider Helena as the disruptive third person in the pair Faust-Mephisto, but also consider Faust as the disruptive third element in the pair Helena-Menelaus. Strangely enough, the whole story is told by the last successor of Faust, Dr. Goodfellow who used to be married to a certain Beatrice, directly recuperated from Dante’s Divine Comedy? He lost her in a car accident and thus he became an obese slob but also the inventor of the network for Faust to take control of the world. To do that Dr. Goodfellow has to see the transformation of Homunculus into a Superhuman, then the creation of the first android AI, Paris who will assist Dr. Goodfellow till the end and this Faust-Homunculus-Dr.-Goodfellow triad will give way to the Faust-Dr.-Goodfellow-Paris triad. But it will become virtual after Faust’s death and Dr. Goodfellow will give the illusion of the existence of this triad by telling the story of Faust to Paris who records it with his camera-eye. When the story is finished, the illusion of the triad is destroyed and thus Dr. Goodfellow, the last human or so, has to give way to the third disruptive element coming into the room, the mob who wants him dead, and Paris has to shoot Dr. Goodfellow with the revolver this Doctor provides him with. Isn’t that pathetic? And then there will be only a simple binary system: the AI mob that has liquidated the human elite, on one hand, mind you Paris is part of this mechanical world and should have been destroyed because it was defective, and on the other hand, what he has done before yielding to the sacrifice of Dr. Goodfellow: the digitalization of the story of Faust and the end of humanity and its integration in some kind of out of space database where it was reproduced millions of times to be captured and understood later by other living civilization for them not to make the same mistake as Faust: to entrust machines with intelligence they should never have. The third element is a mystical and mythical coming of another living civilization from outer space but there is no proof other living civilizations, if they can come and capture Faust’s story in the cosmos, have not made the same mistake and are not already dominated by AI machines. In other words, there is no escape and there is no hope. The whole universe will eventually one day be taken over by AI machines if it is not already the case.

We could say so many more things.

The next note would be on the processing of time in the novella. Constantly we are shifting from one time to another, from one main speaking character to characters acting in some other times than the time of the storytelling. The author thinks visually, and he does not in any way insist on the time changing points. The time just changes, and we have to visualize these changes. That makes the story difficult to follow at times and so often anachronistic. One element sounds out of place and we have to think that it is this element that shows there has been some time-change. Constantly we go back to the future or back to the past or back to mythological non-time. That makes these mythological elements sound out of place in their turns and we have to wonder what the meaning of their presence is. I cannot explore every mythological intrusion, but the final one of Baucis and Philemon is a complete reversal of meaning. Baucis and Philemon have been granted a very important function by Zeus and Hermes and this is a reward for their good help to the two gods who were pretending to be poor travelers. In the novella, they become an obstacle onto the road of Faust to his trinity “wealth, property and power,” to care’s power that is “great, insidious and cunning,” when helping and advising Faust, or to his all-encompassing trinity defined as “ child, grown man and ancient.” So, they are eliminated and their final transformation into two intertwining trees is no longer the fulfillment of a loving wish on their side but the only way they have to oppose their loving defense against Faust. They don’t have to be exiled since they have taken roots in the soil. And it is a mythological pair that means defeat for Faust and he will then die leaving another pair behind that is condemned to turn ternary by telling and recording Faust’s story and finally condemned to be reduced to one material, though digital, and a virtual dematerialized entirely digitalized second with no future in the cosmos.

And that’s the end. It has nothing to do with the hope Faust 2 may demonstrate. At the end of Faust 2, Faust is deemed and in fact redeemed by three women speaking to the ternary goddess Mater Gloriosa. The three named women are Magna Peccatrix, Mulier Samaritana, and Maria Aegyptica, plus a fourth one that is anonymized as a Poenitentum which is supposed to be Gretchen, a victim of Faust who wants to defend him. But the three others are important women in the Christian faith, and they are speaking to Mater Gloriosa who can have the final word on Faust’s fate, and she is ternary by essence, “Mother, Virgin, and Queen at once.” God is vaguely present in the distance. And yet Goethe knows his German and does not end on this rewriting of the divinity under a triple feminine identity with a triple panel of female advisors, with one female victim wanting to speak. The triumph of women in this ending is seriously questioned by the final Chorus Mysticus that I will give in, German and English. In English it sounds like a triumph of femininity:

CHORUS MYSTICUS

All things transitory

Are only symbols;

What is insufficient,

Here becomes an event;

The indescribable

Here is accomplished;

The eternal feminine

Pulls us upwards.

But in German it is a triumph of women captured in the neuter gender, and not the feminine gender, all marked in red bold underlined font:

CHORUS MYSTICUS:

Alles Vergängliche

Ist nur ein Gleichnis;

Das Unzulängliche,

Hier wird’s Ereignis;

Das Unbeschreibliche,

Hier ist’s getan;

Das Ewig-Weibliche

Zieht uns hinan.

And this “Ewig-Weibliche” which is neuter per se is built on the radical “das Weib” meaning “woman” but neuter in gender. The eternal feminine is absolutely neuter in gender. Can we go as far as saying it has been de-sexualized? I am not far from thinking it has been. But imagine the subtle meaning Goethe could integrate into this Chorus when it is dedicated to the very feminine side of humanity and yet is neuterized as what some questionnaires suggest when asking for gender and providing three possible answers: “male, female, other” or “man, woman, other.”

I will then say that the ending of the novella on a world with no human life left and only machines, AI machines or simple Androids, is a marvelous illustration of this neuterization of human life by our modern world. But I am not sure the author has thought of this particular aspect of his work.

To conclude I will say this novella is quite in phase with the essential aspect of the trilogy The Matrix, including the final regenerating crucifixion of Neo at the end and of the Angle in the novella. But then the architect shown as a man in the last scene is not a real human, but he is the intelligent entity that has devised the world IT is trying to bring under ITS control. There are three bodies: the machines, the humans and the matrix and the matrix is trying to eliminate the humans directly when they can and through the machines when necessary, to shift the world from a ternary entity into a binary one and we may think an eventually unitary entity. Power is so much simpler when the world is entirely under our sole control. Ask Trump and soon Johnson.

More about this project with the video film. A last word about the various illustrations in black and white. They are just illustrations.

Dr. Jacques COULARDEAU

THE HUMM COLLECTION — THE LAST FAUST — VIDEO — 2019

This film is a stage production, mostly in various stage settings, some outside backgrounds too into which the action and the characters are embedded. Some of the backgrounds are digitally produced. My first watching of the film made me think there was a lot of storytelling and little action. The actors were acting as if on a stage — which was the case, a sound stage — and not as if in a real outside location. I also feel the text has been clearly recorded before or after shooting in a sound studio; The voices and the sound are absolutely perfect and devoid of any interfering noise.

That’s when I watched it a second time, after reading the novella that I found rich but explosive, meaning going in all directions, with time travel back to any past and forward to any date in the “present” that is revealed to be the future in the video, precisely 2059, 71 x 29. But apparently no mystery behind this number that is the product of two prime numbers. To get rid of all hidden symbolism, let me deal with Paris’s real identity which counts 19 characters: CO2KKOCDTPY4Z-2- -27, but this identity does not seem to have any mysterious meaning and is not one more Mary Poppins’s super-duper magic word.

But with the second watching the whole story became really clear though all the allusions to mythology and to Goethe’s Faust 1 & 2 are not always translucid or we are not very intimate with Goethe’s plays to follow the intricacies. Strangely enough, it is not essential. The storytelling is clear, the storyteller is clear and the scenes that cut up the storytelling are also clearly positioned in the story and in time. The timeline, though chronologically chaotic is clear visually because the various times are clearly indicated by the setting (Dr. Goodfellow’s mother’s house is the modern time, in fact, 2059 but the house being entirely off any kind of communicational grid it is clearly a house that could be in some French wealthy suburb) and the producer and director use clear ways to shift from one period to another, either visual or computerized means, or audio means essentially music. The costumes too are rather specific to the times, though the use of mini, short, calf-long and angle-long white burkas are timeless though a direct allusion to Islamic burkas with the color and the varying length being at odd with this reference. The meaning of such a costume is difficult to catch, especially since these women are sex-objects and represent Faust’s permanent desire for women.

The other costumes are clear. The Northern German Empire is clearly represented by Austrian leather pants and other rather Germanic elements. The image of the Pope on the background in a couple of scenes is an actor wearing a white cassock (if we can say that for the Pope’s robe) similar to the Pope’s. The most surprising costumes are those of angels with wings and deep cleavage (singular since only the breast cleavage is concerned and there is no callipygian tantalizing) making these angels very feminine and with great frontal sex-appeal. The other women Faust desires are also more or less sexily dressed. Yet the Goddess in the sky, Mater Gloriosa wearing the traditional three colors of France, Great Britain or the USA and thus being a reference to these tricolors is not in any way sexually enhanced. Yet all the women except the three Phorkyads who are grotesque in their extreme obesity, are standard western beautiful women right out of Playboy if it still exists, or equivalent.

The music is also interesting as a shifting parameter. Apart from some music from Richard Wagner and Yello, the music is by Florian Siegmund and Oliver Schwarz. To emphasize the “modern time” in Dr. Goodfellow’s mother’s house, this Doctor can be engaged while telling the story in preparing sandwiches or eating them or drinking who knows what from a cup or a glass or demonstratively spreading a napkin on his vast stomach. The reason why Dr. Goodfellow and his assistant Paris (the 19-character machine or robot or android or whatever AI being he might be) are running away, from what we don’t know at first, then telling and recording the story of Faust, Homunculus, the Superhuman, Paris and the emergence of an AI society in which the machines have decided to eliminate all humans, only becomes clear at the end: a testimony of what happened on Earth and a warning to other living civilization in the universe. A pure dream anyway since if any cosmic, extraterrestrial civilization reached Earth it would have also reached the stage of Artificial Intelligence and these machines would have eliminated the physiological beings who had produced them. No discussion of this idea, just on my side the pointing out that if AI takes over on Earth it will be reached, and it will take over any other civilization. I may totally disagree with this perspective, but it is the perspective described by the author and in the film, it becomes very clear and pregnant.

The film is also extremely clear about Faust’s incapability to get out of his straight woman fixation that is definitely obsessive-compulsive and that leads to the idea that Faust is probably an Asperger patient who cannot get out of his fixation or compulsion or obsession, and that is the main character of the story: it is ternary, it is a trinity. Faust is dominated by the opening of simple pairs or couples to a third element that builds a ternary trinity that becomes unstable and breaks down. It is clear from the very start since we have a triad or triplet of male characters that are going to decide of all events along with a ternary bet, a bet in three stages: a proposal from God, an interrogative expansion from Mephisto, and then an agreement from God under a certain condition. The central triad is God, Mephisto, and Faust, and Faust the third element is the only human and he is the target and the stake of the bet between the two supernatural beings. The whole story, the whole film is built with such systematic ternary references with three women in burkas, the three Phorkyad sisters, and other triplets used to push the story forward. Then the dramatic plot is always a peaceful or uneventful pair of people with the third one coming in and disturbing the whole shebang. Faust-Gretchen is disturbed when the mother intervenes, and she will die. Then Faust-Gretchen is disturbed by Gretchen’s brother, and he will die. Then Faust-Gretchen is disturbed by the pregnancy and the future child and the mother will end up hanging in the mother’s cell. Then this basic couple can move to the couple Faust-Helena and there again a third element will blow up the situation. Helena’s husband comes into the picture and is defeated and eliminated after a war. Faust-Helena is expanded by a child captured as Euphorion or Icarus and he will kill himself out of vain carelessness and that will explode the couple of his parents. Then Faust-Mephisto will create Homunculus but Faust will fail at producing the superhuman he is looking for and that will make him blind and die. In the meantime, Dr. Goodfellow comes into the picture, recuperate a reject from Faust’s laboratory, Paris, to make him his assistant and the pair will be able to produce the AI superhuman needed to bring humanity down.

Because we understand that in the end that’s the only objective possible. At first, AI machines tolerated a human elite as a pair to control and govern the planet, but very fast the AI machines decided to make the elite obsolete and then had to fight with Dr. Goodfellow to finally get full control of the planet. The end is a rich shifting from three to three and then to three again. The trinity Dr. Goodfellow and Paris confronted to AI machines, shifts with the escape from AI machine’s control to a more virtual triplet Dr. Goodfellow, Paris and Faust in the story being recorded. But AI machines from outside are breaking in and then Paris has to kill Dr. Goodfellow and do what is needed to end up with a triplet: AI machines controlling the earth and its “artificial neural network” (note the three elements in this name), then Paris who might be integrated or destroyed later and the third entity is purely digital and virtual since it is the recording dematerialized and sent into the universe as a warning to other civilizations against the fate of AI on earth. The whole fight then will shift to AI machines on earth, the virtual recording in the universe that has to be destroyed for other extraterrestrial and cosmic civilizations not to get it. This triplicity is coming directly from Goethe and is amplified here into a context that is supposed to take for granted the conclusions of a few people who are developing businesses on this idea: around 2050 machines will be more intelligent than mean and the choice will have to be for men to become machines, or for machines to get rid of men. They might, after all, keep some women and some men to be able to produce some more women as toys and entertainment. The best-known advocate of such an idea is Ray Kurzweil and his Singularity.

We can wonder what Goethe would think of this if he were to come to our world. One thing is sure, he would probably still be a poet (dreaming of Prometheus) and a playwright or scenario writer (dreaming of Faust with or without AI), but he would also be a politician somewhere in Europe and a diplomat somewhere in the world. He would definitely play a role in the vast systematic crises of our world in Iraq, Syria, Afghanistan, Korea, Ukraine, and he might be in business and monetary diplomacy, heading the IMF or the ECB. I am sure he would be a realist along that line just as much as he was in Germany in his days implementing there what came from the French Revolution and Napoleon. He would certainly not be a protectionist or a Brexiter which would go against his general convictions and culture if he had kept it in his time traveling. Will he see love as closer to Werther or to Faust, who can say? Not I. But he sure would know that things in this field are not in the sole hands of men, have strict limits as for age, and must all the time respect safety in the form of safe sex. What’s more, he would also have become aware that straight phallocrat male chauvinism is no longer acceptable and nowadays we do make a difference between sex and gender. As they ask in Hotel Formula 1 from new arrivals: Sex: Male, Female, Other.

The film then, as a story told to us by a storyteller more than as an action film, is interesting, brings up questions that are worth discussing, and should engineer a real debate on societal questions.

Dr. Jacques COULARDEAU

The Last Faust, Peter Humm / BLOG #10 / 05/June/2019 /GR / WEINSTEIN / WINESTONE[1]

Exploring the Faust in a post-Weinstein world[2]

In The Last Faust, the titular character, played by actor Martin Hancock, is smitten by Gretchen, an adolescent girl of 14–16 years of age and luminous beauty. In this moment, Faust loses everything. His desire corrupts his dreams of power and knowledge.[3] Vladimir Nabokov’s predatory protagonist Humbert Humbert follows a similar fate, obsessed by Lolita, his justification for seduction is the worship of youth. Faust’s carnal obsession is that of an old man’s thirst for unblemished flesh, he is a vampire in human form.[4]

Faust is in a way a romantic hero” as he only had two love relationships: one with the adolescent Gretchen, and one with Helen of Troy.

Harvey Weinstein resembles Faust, yet differs as he consumed sexual relationships. He stood atop a studio empire that saw him attain wealth and glory (Miramax films won a total of 81 Oscars). Revelations that he was also a sexual predator, weaponizing his position to abuse and coerce young actors comes as no surprise; this is, after all, Hollywood. It is the pathological degree to which he pursued and nourished his appetite that shocked, seemingly nobody was off-limits. Weinstein’s lawyers maintained his ‘sex addiction’ was the root cause of his depravity and thus should be regarded as a mental disorder.

Weinstein is a 21st century Faust[5], it’s difficult to decide on which particular devil is clinging to his back (power, money, sex) but there’s a devil for sure, he’s the product of a fevered mind and nurtured in the black light of celebrity. In fact, Weinstein himself looks like he was mustered directly from central casting such are his characteristic foibles: ogre, tyrant, privileged white male[6]

Faust’s desire for all worldly knowledge and the keys that would enable him to emulate God’s own work is cast aside when the Devil called Mephisto, unable to satisfy this request, distracts Faust with pure, carnal lust, to which he seduces him by having his witch mix a magic potion for him. As a result, the old man is blinded by his desire for the adolescent Gretchen and the impossibility of youth. His instincts are deviant but beyond his control, his desire is satanic in nature and stoked by Mephisto. One could argue that Faust’s taking the magic portion and Weinstein’s “sex addiction” have the same ultima ratio.

Having been coaxed by the Devil himself, Faust is both a victim and a perpetrator[7], his deflowering and eventual destruction of Gretchen makes him a monster but he’s a redeemable monster[8]. Faust does not share the same eternal fate as Gretchen. The innocent must suffer the most. Goethe is merciless in dispatching the young girl. Old, rich and powerful men have history on their side. Gretchen gets thrown into jail and dies. Her crime was having an illicit child in the 19th century[9]. Goethe was a jury member in a similar case and wholeheartedly approved the death penalty for a young girl who gave birth outside of wedlock. Goethe was also merciless in his private life where he had numerous affairs and once, Goethe was merciful with Faust, whose soul was purified from his sins after Gretchen’s death and ascended to heaven upon his own death.

Weinstein will not be purified nor freed from his sins. He is a monster and clearly labeled by the “me-too” movement as such. His victims may draw satisfaction from his downfall. However, the label of victim will remain, an invisible life stain to be carried always

The relationship between Faust and Gretchen is more dynamic and differentiated than Weinstein’s sexual transactional affairs. Faust starts as perpetrator, Gretchen as victim. But soon she becomes co-perpetrator desiring Faust’s jewelry and wealth and insinuating an intimate evening with Faust. Maybe there is some of that dynamism, or “two sides to the coin” also in the Weinstein cases — but the #me-to discussion is too ideological to allow to review such subtleties.

In The Last Faust, Steven Berkoff plays Dr. Goodfellow, the CEO of Winestone Inc. Berkoff’s performance is devastating in its portrayal of a man whose very being is cemented in arrogance and delusion. Goodfellow, in his final hours sees his true identity and legacy reflected back upon himself, it is both cruel and comical.

Steven Berkoff went on to produce Harvey, a one-man West End show, written and performed by the actor. The play is an internal monologue, a self-justification of hellish proportions. Berkoff’s powerful physicality and edgy charisma made his performance both entrancing and occasionally deeply unsettling.

Weinstein is the architect of his own demise; his particular chapter will soon come to a close and the #me-too movement spawned from this scandal will likely forever change the cultural landscape within Hollywood and the entertainment industry[10]. Goethe resurrected Faust and it’s with almost depressing certainty that the next Harvey Weinstein is already pacing the corridors waiting for some devil to invite him in.

*************ENDS[11]****************

[1] All notes were written on 06/September/2019

[2] That’s too easy to exonerate all the sexual bullies in this world by concentrating the reflection on one particular white Jewish man. What about the black Christian offenders along the same line? No, the Third Reich was not the fact of one or even a dozen deranged criminals. It was the fact of millions of Germans who voted for that and SUPPORTED IT TILL IT WAS TOO MUCH. Just ask when it became too much. Long after the famous München mass meeting, or even the Olympic Games in Berlin. Maybe Kristal Nacht, and I am not sure. Our world is not post-Weinstein. It is realizing that human relationships have to become simply humane. But think of Bojo and Trump in the West. We are in a world where bullies are committing suicide by being bullies openly and in positions of power. How long are we going to elect such human and political caricatures, or should I say cartoons?

[3] As such he is a monster, unhuman, but so common among intellectuals. So many university professors get a divorce from their current wives in order to get into a legal relationship with a woman twenty or thirty years younger. In fact, it is not even “desire” per se, sexual desire I mean. It is something else: a way to rejuvenate their own mental functioning, to find new energy, new intellectual energy. It is funny to see them in conferences strutting with “new” ideas in front of their “new” relation. Falling in this trap is a sham anyway because they do not think new ideas. They just get a new batch of mental energy that enables them to repeat with energy what they have said all their life. All university professor know that and often say so: if they did not have their students, they would no longer be able to commit some research, because for them research is like a crime: it is committed and they are committed to the intellectual loony-bin by people who cannot think beyond the price of public transportation.

[4] Same remark. He is a vampire because he does not care for the girl at all. He only cares for himself and the energetic feeling he gets from this adventure.

[5] I am not sure because Weinstein is in a social position that makes him dominant over hundreds of people, boys and girls, men and women. He probably only sexually abused women, and girls; but he also probably mistreated, blocked the boys and men who did not want to go his way and do what he ordered them to do, like closing their eyes on his sex-offending. He was a man who did not take NO for an answer. He is in no way a mental monster. He is nothing but a social monster promoted to a position of authority by our hierarchical society, and that has nothing to do with capitalism. It has all to do with Hominins, Homo Sapiens who could not survive and develop outside a hierarchical society. Weinstein is in fact feudal and he implemented the “droit de cuissage” of old feudal lords: the right to have sex with any newly married before their legal husbands, and she better be still a virgin. Same with the wives or daughters of an underlord for an overlord. Same thing at anytime and anywhere withal plebeian women, girls, boys or even men who come across their path.

[6] Nothing to do with white. Bill Cosby is one, and not the only one, not to speak of Michael Jackson, as for Black men. And it has little to do with maleness. You have exactly the same thing with women who play cougar with younger males, or plain dominant woman with any man that comes close and accept to be their playthings.

[7] That’s one way to look at it. The victim of Mephisto, for sure but we do not believe in the devil anymore. He is the victim of his own penis because his mind is in his balls.

[8] That’s just the question of the end of Faust II. Is he redeemed? Yes, after death by a whole set of women, Gretchen among them, and the eternal feminine becomes the motivation of humanity’s action, of all men’s actions. But that eternal feminine is neuter, sexless, unsexual. That’s just my point. It has nothing to do with a desire to have sex. That’s the easy part. It has to do with rejuvenation, redynamization, re-energization, and sex is just the cherry on top of the whip cream. Thus, he is not a monster. He is just an aging Homo Sapiens, and it would be the same with a woman. The cinema is full of such cougars.

[9] But the child is saved. Puritans do not kill children, don’t they? Think of the Witches of Salem. They were most of them girls, vastly under-age at times. How many were actually executed?

But Goethe was vicious since he made her, after her death, part of the supernatural divine jury that acquits Faust. And this is encouraging such attitudes among aging males. They can do it since they will be forgiven by some divine tribunal, later on. Doomsday is not THAT apocalyptic after all. I guess Goethe did not believe in the Red Whore of Babylon.

[10] No, it won’t. Think of my comment on hierarchical human society. And even if there were no hierarchy there would always be some bullies and some predators who would move into it only on their own selfish and penis-centered self. Think of Bolsonaro and his remarks on Macron’s wife. You could also think of Trump’s numerous remarks on the subject and about grabbing women.

[11] It will never end.

Dr Jacques COULARDEAU

Written by

Dr Jacques COULARDEAU, PhD in Germanic Linguistics (University Lille III) and ESP Teaching (University Bordeaux II) has been teaching all types of ESP

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