![]() The passage reveals the profound suffering of Nietzsche himself who, led by cognitive research, comes to the realization of the lack of meaning: the death of God, of which he himself is the murderer. Men have killed God, but are not aware of it. It is then that he realizes that his proclamation has reached man too soon (“the time has not yet come”, the “immense event is still on the way and is going astray”). Utterring these terrible words, the mad man, seeing the astonished looks of those present, takes his lantern and throws it to the ground, smashing it. who will take away this blood? With what water can we wash ourselves? What expiation ceremonies, what holy scenes should we invent? Isn’t the immensity of this deed too great for us? Do we have to make ourselves gods, if only to appear worthy? God is dead! God is dead and we have killed him! H ow can we console ourselves, we the murderers of all murderers? What the world had that was the holiest and the greatest has bled to death under our knives. The mad man replies solemnly affirming that God is dead, assassinated by the hand of man: Among them, one asks the mad man if God is lost or if, out of fear, is hiding. In aphorism 125 of the Gaia Science, Friedrich Nietzsche tells of a mad man that, lighting a lantern in the light of the morning, runs to the market shouting loudly: “I’m looking for God! I’m looking for God!” Other men who do not believe in God listen to him amusedly. No one watches over her… she is enveloped by the darkness of night… the darkness and emptiness of nothingness. He definitely knows more than anyone else.” And while she burns, the squire of the knight (capital figure, as Block) looking at her says: “Nothingness engulfs her and watches over her. God, you exist somewhere, you certainly must exist!” And, again, facing a young woman condemned to the stake: “I want to meet the devil, I want to talk to him about God. ![]() It is like loving someone who is out there in the dark and doesn’t show himself/herself despite being called. The knight, before dying, wants the physical surety of the existence of God, thus breaking the silence: “Faith – he says – is such a painful punishment. In short, it portrays the tortuous but necessary way of free research for beyond every historic barrier (political?) between belief and non belief. The time that Block gains will be used to carry out a useful action, after a lifetime (“a void without reason”) that he sees wasted in smallness, like – he says – that of everybody.īut why is this film one in body with the Courtyard of the Gentiles? Why does the Seventh Seal portray the ground of believing and thinking, between nothingness, hope and its negation. The knight wants to discover this: the meaning of his existence and, for this, asks to postpone death by challenging it to the game. The Seventh Seal, in the Apocolypse of Saint John is broken by the lamb of God, making it possible to read the book of life. So this initiates a game wanted by the knight to find out if, by beating death at the game, his life would be saved.Ī detail of no small matter: Von Sidow appears in the film with his face shaped by the shadows, reminiscent of those ancient Nordic figures carved in wood, to evoke a substance or the abstraction of a concept. ![]() When it comes forward to wrap him in its black robe, Block manages to convince it to wait, challenging it to game of chess. The knight Antonius Block, magnificently played by Max Von Sidow, returning home from the crusades meets Death itself. Europe is distraught by the plague and fanaticism has prevailed over religion. The story takes place in the XIV century. ![]() I am referring to the Seventh Seal ( Det Sjunde inseglet) of Ingmar Bergman, produced a good sixty years ago. One in particular coincides with the essence of the Courtyard of the Gentiles. Films, writes Fernand Braudel, are agents of history.
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