Hello Curious Friend. Welcome to my book about Hate. The number tells you where you are in the sequence. I look forward to your comments.
Catch the Conscience (Continued)
The philosopher enjoys this conundrum because it forces non-philosophers to face the question of presence. If no one is there, and I define “sound” to mean vibrations hitting my eardrum, then the tree makes no sound because there is no eardrum to be vibrated. But if I define sound to mean vibrations created by an energy source, then yes, of course sound is present.
As observers of hate, we stand in that same forest, and hate is our tree. For us, an observer of some kind must be present in order for us to say, “Hate exists.” The expression of hate must vibrate our eardrums, so to speak. In our play, the observer we need is Oscar, the father. Like most fathers he dotes on his children, wanting what’s best for them.
Let’s consider the number of actors in this play for a moment. As mentioned earlier in this book, it’s evident and all too prevalent for us to find evidence of self-hate. Imagine this extreme scene now, from the perspective of our first play.
A young woman stands in front of her mirror, first thing in the morning, disparaging her appearance and wanting to change. She feels her lips are too thin and pale, her nose too big, her eyes too small. She wants to hide her features, surgically change them, or spirit herself away from all who know her.
She is hating herself. In this state of self-hate, she is both the source and target of hate. They are now equally represented, just as Sierra and Tango represented source and target of hate in our little play.
Now imagine further that our young lady realizes the harm she is doing to herself. In that realization, she steps away from the mirror and begins to appreciate her own worth as a person. Feeling better about herself, she decides to face society without a speck of makeup.
In that observation of self-hate, she has now also fulfilled the role of observer. In fact, during her solitary little drama, she assumed the roles of all three components required for hate to exist: source, target, and observer of hate; just like Sierra, Tango, and Oscar.
Three in one, easily done.
Later we will discuss a method that will help us organize all the possibilities this condition creates. For now, let’s admit the possibility that a single actor can play more than one role.
We ignored bias and motivations and background in our story, and we will continue to do so for the foreseeable future. Here’s why; when we add backstories to our hate plays, we unnecessarily complicate the issue without helping to clarify matters.
Trying to understand why Sierra pushed Tango does not help our understanding. When you read the play, did you want to know why Sierra wanted to harm Tango? Perhaps he had hit her a moment before. Perhaps he’d hit her the day before. Maybe he’d broken her favorite toy, or smiled at the wrong time. Or perhaps she is jealous of her father’s affections towards Tango and was symbolically pushing him out of the family.
To be continued …