CLINE-ism (Psychoanalysis + Patsy Cline=Science of Suffering
Posted: Sun Feb 22, 2015 11:26 pm
CLINE-ISM
(PSYCHOANALYSIS + PATSY CLINE= THE SCIENCE OF SUFFERING)
" I've got your memory or has it got me?
I really don't know but I know it won't let me be"
-Patsy Cline
Cline's Sacred Drama- in her own personal history- at some point begun to morph into a timeless, unlocalized form; its general outline is as follows:
The innocent lover "dies of love".
the wounded singer rises up in her place.
The singer will be haunted by the "innocent lover".
"Sweet dreams of you
Things I know can't come true
Why can't I forget the past, start loving someone new
Instead of having sweet dreams of you."
A dramatic inertia. An inner, dimensionless prison of love and the impossible or "things I know can't come true".Total etherealization of the Past dimension, phantasmal, "sweet dreams" of Mnemosyne; a forgetting of the Now in favor of an impossible co-existence of a past-present structure, ideally wished for by Baudelaire as a "past, while retaining the piquancy of a phantom, WOULD MAKE ITSELF INTO A PRESENT".
(Note: In Psychoanalysis, a "memory-trace" is a permanent reservoir of critical moments in our personalized, "Sacred Drama". Sheltered in the un-conscious, hence unaffected by Time, this memory-trace continues to re-state the drama with great insistence.)
"A picture from the past came slowly stealing
As I brushed your arm and walked so close to you
Then suddenly I got that old time feelin'
I can't help it if I'm still in love with you".
Her transcendence of self through song is circular: it leads back into the terrible immanence of the memory-trace- a trace that is pure, unbridgeable, all the more omnipotent like God-Mnemonic as it cannot be perceived by the senses. It alone commanded and clouded her current relations.
By her absolute rejection of the Now, she illustrates its value in a way that has rarely been drawn . Her life, in that unlocalized time after the sacred drama (but its time is every moment) she had the feeling that her existence suddenly stopped. She pretended to die. But like the essence of death, which is a local finality without end, her body continued to haunt the earth like a melodious apparition.
"I can't forget you, I've got these memories of you
I can't forget you, I'll always be loving you"
I can't forget you, please tell me what must I do
My memories haunt me because I'll always love you"
For Cline then, the principal dimension of reality is The Past. She refused The Now. She resembles a child seated backwards in a car, watching the road as it fades into evanescence. It was She who allowed the gross and sweet residue of the gone , Ideal Lover to weigh down on the wings of her inner domain. It was She who continued to reinstall His ghostly figure by furnishing the present with fresh and nostalgic miseries. Like the excavation of a tomb, she brought fourth her fame and glory by digging up the exquisite remains of princely corpses. The same sweet melancholy, suffering, and nostalgia over an inaccessible "paradise lost" of a faded beloved remains her consistent theme from the first, to the last of her albums. Her recordings are nothing more than variations on this great Yester-Year Theme of perfect romance, perfect affection, and fatal endings.
(PSYCHOANALYSIS + PATSY CLINE= THE SCIENCE OF SUFFERING)
" I've got your memory or has it got me?
I really don't know but I know it won't let me be"
-Patsy Cline
Cline's Sacred Drama- in her own personal history- at some point begun to morph into a timeless, unlocalized form; its general outline is as follows:
The innocent lover "dies of love".
the wounded singer rises up in her place.
The singer will be haunted by the "innocent lover".
"Sweet dreams of you
Things I know can't come true
Why can't I forget the past, start loving someone new
Instead of having sweet dreams of you."
A dramatic inertia. An inner, dimensionless prison of love and the impossible or "things I know can't come true".Total etherealization of the Past dimension, phantasmal, "sweet dreams" of Mnemosyne; a forgetting of the Now in favor of an impossible co-existence of a past-present structure, ideally wished for by Baudelaire as a "past, while retaining the piquancy of a phantom, WOULD MAKE ITSELF INTO A PRESENT".
(Note: In Psychoanalysis, a "memory-trace" is a permanent reservoir of critical moments in our personalized, "Sacred Drama". Sheltered in the un-conscious, hence unaffected by Time, this memory-trace continues to re-state the drama with great insistence.)
"A picture from the past came slowly stealing
As I brushed your arm and walked so close to you
Then suddenly I got that old time feelin'
I can't help it if I'm still in love with you".
Her transcendence of self through song is circular: it leads back into the terrible immanence of the memory-trace- a trace that is pure, unbridgeable, all the more omnipotent like God-Mnemonic as it cannot be perceived by the senses. It alone commanded and clouded her current relations.
By her absolute rejection of the Now, she illustrates its value in a way that has rarely been drawn . Her life, in that unlocalized time after the sacred drama (but its time is every moment) she had the feeling that her existence suddenly stopped. She pretended to die. But like the essence of death, which is a local finality without end, her body continued to haunt the earth like a melodious apparition.
"I can't forget you, I've got these memories of you
I can't forget you, I'll always be loving you"
I can't forget you, please tell me what must I do
My memories haunt me because I'll always love you"
For Cline then, the principal dimension of reality is The Past. She refused The Now. She resembles a child seated backwards in a car, watching the road as it fades into evanescence. It was She who allowed the gross and sweet residue of the gone , Ideal Lover to weigh down on the wings of her inner domain. It was She who continued to reinstall His ghostly figure by furnishing the present with fresh and nostalgic miseries. Like the excavation of a tomb, she brought fourth her fame and glory by digging up the exquisite remains of princely corpses. The same sweet melancholy, suffering, and nostalgia over an inaccessible "paradise lost" of a faded beloved remains her consistent theme from the first, to the last of her albums. Her recordings are nothing more than variations on this great Yester-Year Theme of perfect romance, perfect affection, and fatal endings.