Eternity is in love with the productions of time — William Blake
I am going to attempt to explain the meaning of Jean Gebser’s phrase “ever-present origin” (which is also the title of the English translation of his book) and how this pertains to his idea of “time-freedom”, which is, after all, the essential meaning of the term “transcendental”.
This is a bit tricky, because of the paradoxical nature of the relationship between time and eternity, or the finite and the infinite, or the mediate and the immediate, or all forms of dualism generally. But if we manage to pull it off, it will also reveal the fuller meaning of what William Blake means by “Eternity is in love with the productions of time” or by “Eternity in the hour”. In fact, it would make the sometimes enigmatic and complex mythology of Blake’s “mystical” poetry much more accessible, as well as much else besides.
“Language is wiser than the one who speaks it. The living language of people always overpowers the thinking of individual man who assumes he could master it” — Eugen Rosenstock-Huessy
Popular discourse very often encodes “hidden” social and spiritual dynamics long before those dynamics become fully conscious or articulate. Take the phrase “losing the plot”. Everything we’ve discussed in The Chrysalis pertaining to the “culture of narcissism” (Christopher Lasch), the end of the Grand (or Master) Narrative (post-modernity), the crumbling metaphysical foundations of the modern mind and the corresponding breakdown of the mental-rational (or perspectival) consciousness structure (Jean Gebser), the disintegration of the personality and character structure of Modern Man (Rosenstock-Huessy), or “post-truth”, “post-rational”, “post-Enlightement”, and so on, is effectively condensed and encoded in the simple phrase “losing the plot”. All I’ve done in The Chrysalis is, in a sense, try to unwrap what is more deeply encoded by the phrase “losing the plot”.