Dance of the Holy Fools
Oh Holy Fools - The Music Of Son, Ambulance And Bright Eyes | Son Ambulance
Some of us do not perform but just take part in the service or communion. Just being there in the church is not only symbolic, but also an act of personal worship. Faith — a clown is sexless, ageless and classless. He always has to be open and expose his own vulnerability to the audience. He risks being accepted and applauded or being rejected each time he exposes his painted face and baggy trousers, he is openly showing what he is and not hiding behind a mask of respectability.
Three Holy Fools: A Chassidic reading of a Talmudic passage provides models for self transcendence
He cannot help but be the centre of attention. A clown is like a child, innocent, accepting people and things as they are and finding simple joy in all he meets. Hope — The clown is not just a symbol of joy, but of hope and believes everything is possible. He will try to walk the tightrope like the experts, but will fall off and try again. Sometimes he succeeds, much to the appreciation of the audience.
They see in the clown the possibility of succeeding against all odds, which reflects hope in their own lives. Love — A clown only exists to give to his audience, he is there to serve and wants to give his complete self. He makes no conditions on the audience, there is no demand on them to return the love he gives them. He gives us laughter and sometimes insight into the human condition in which we all have a mutual interest. One of the important things that can be shown is how the joy of being a Christian can be shown through clowning.
Faced with her hostility, LeMerle tries the well-worn seducer's charm: "Exquisite harpy What undermines the novel, though, is the shade of Ken Russell. As the false priest begins to exploit the women's repressed desires, it recalls the more risible scenes from The Devils. You sense a certain fatigue as the author pulls out all the stops for a Grand Guignol finale. Although this is a historical novel, it is not really about its era, so much as an archetypal fable. The characters, too, are from the realms of fantasy: Juliette with her foxy red hair and LeMerle with his devilish looks.
This may be the intention, for the novel begins and ends with commedia dell'arte players — Arlequin, Scaramouche, Isabelle.
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LeMerle as Scaramouche and Juliette as Isabelle play their parts as in a theatre. Some of the best writing is about the sequin and cardboard glitter of make-believe, with an underlying theme of the conflict between the nomadic life and the desire to be rooted. It's a conflict that Juliette has not resolved by the end of the novel, and you doubt that she ever will.
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Three Holy Fools
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