Music as metaphor

If all the world be flat in my heart, there be but one substance, but one dimension, that of "tension", of which the inhibition is simply a characteristic of the substance whole. It becomes increasingly difficult with each word to select the next, naturally, as tension and inhibition tend to counteract each other into the emotional realm before the active sensory response can be initiated, leaving an evanescent dissonance which soon turns to a hollow fifth. A person severely inhibited finds in the dissonance suffering and confusion, while one of the inverse temperament finds in the resolutory harmony suffering and ennui--it seems then, that neither staying nor going, neither lingering nor venturing, would absolve one of this misery. The chronistic aspect of Western culture has made it unthinkable that time should be suppressed in the representation of life, & in this way the discomfort of the simultaneous tension and relaxation, abolition and preservation has become incomprehensible, even mystical to the human eye; in truth, sublation can be intimately observed in the production of emotion.

A different error arises from the first impulse to reject the aforementioned linear structure of time: the claim that it is actually cyclical. Though this may not be the intent, the result of this attitude is quasi-universally a denial of the weight of time, the assumption that reality may so easily be unwritten that action itself is no different from thought, of little consequent outside of the internal realm. This is not my view--it is not so much that "things are only defined in the conclusion, through endless repetition" (as is of the samsara), but that "things are defined--wholly--no matter which point you are viewing", that time is a homunculus in its nascency. First, this analogy makes clear the mortal dimension of time--the eternal harmony of Christ's Kingdom is its perfect resolution, and it is unquestionable that all tension, all movement, will cease then, as the full body of the universe is revealed through the visceral body, in the flesh. In this measure, how can one experience tension, when the body is ablated and the chasm between the conscience (chained, symbologically bound) and the object is sublated? But aspiring to this end in the breath between humanity's third and first step is preposterous and confusing--what does it matter to me, 'k', that the alphabet ends in 'z'? If I were to view its full scope, perhaps its beauty would overwhelm me so, but the mere mention or conception of its harmony is simply not resonant enough, it cannot be confined to the lexical representation, though it may be invoked through tensions of the spine, through the lump in the throat or the ache in the rib.