Inspiration ain’t never been narrativized.

Inspiration fills the heart, ego swells the head.

One’s personal narrative or ‘life story’ does not exist (it can’t be unravelled from the transforming relational continuum aka the Tao).

But a ‘personal narrative’ can be fabricated using the ‘double error’ aka the ‘ego’ where we use naming to invent an ‘independent being’ and notionally animate it with grammar (the ‘double error’).  By making ourselves out to be the sorcerers of our own actions, we get to build a narrative about ourselves starting from ourselves.

“Our judgement has us conclude that every change must have an author”;–but this conclusion is already mythology: it separates that which effects from the effecting. If I say “lightning flashes,” I have posited the flash once as an activity and a second time as a subject, and thus added to the event a being that is not one with the event but is rather fixed, “is” and does not “become.”–To regard an event as an “effecting,” and this as being, that is the double error, or interpretation, of which we are guilty.” – Nietzsche, ‘Will to Power’, 531

Our actions may be inspired.  That is, the relational circumstances we find ourselves situated in may inspire our movement (e.g. the child has fallen into the rapidly moving stream.   “We act swiftly” … so we say.   Or is it correct to say that ‘we act’?  In the transforming relational continuum the restoring of harmony and resonance is always pulling things (includigg ‘us’) together, as in ‘duning’.  There is no ‘dune’ that is the author of its own action, even though language and grammar spell it out this way (e.g. ‘the dune is growing longer and higher, the dune is shifting to the south, etc. etc.)    ‘Duning’ is a relational, resonant dynamic within the Tao, … i.e. within the transforming relational continuum.  The ‘humaning’ is like the duning.  When the little girl comes into the world, … in her prelingual, relational sensitivity, she is open to inspiration that fills her heart.  She is enthralled by the beauty of nature that she is included in, it is inspiration that fills her heart and inductively shapes her movements in infancy.

As she is taught language, she learns the technique of the ‘double error’ that replaces, through her ability to speak, the ‘inspiration that ain’t never been narrativized’, and she begins to articulate the inarticulable, very crudely at first and becoming less crude as she develops her language skills.  That is, she learns how to use language to articulate (crudely), the Tao that can’t be told, the relational continuum that she is innately included in.  Such articulation is so crude, that as Wittgenstein suggests, we can only use as a stimulus to ‘leap beyond it’, and after attained an ineffable understanding, tossing away the effable pogo-stick the supported the leap from the effable to a sentient intuition of the ineffable Tao.

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