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The
Parthenon, in AD 2001, hosting a make-up
device
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The tail of the devil rejoices in telling that
its master was once adorning his son for a party,
and that he, being eager to turn his darling's
presence into a dazzling appearance, put make-up on
his face in the worst manner he could conceive, as
it usually is his devilish preference.
When he had worked on his son's countenance for
a while, says the tail, he looked at his appalling
work, noticing that the result was almost optimal.
But once he had backed one step and accurately
scrutinized it, he found it, by disregarding the
'optimal' and concentrating on the 'almost', quite
mediocre, due to the fact that this undefined
degree of something possesses the annoying faculty
to corrupt everything else (except a few things
that he is not interested in). In order to dodge
the nuisance, the devil reconsidered his task,
asking himself in a loud, handsome voice:
"And what if
I, just out of caprice, made him beautiful instead?
For what is the difference between beauty and
ugliness? Are they not both ruled by 'almost',
being that which is 'almost beautiful', 'almost
ugly' as well?"
Having uttered these words, and being impressed
by their cleverness, he proceeded to erase, while
ceaselessly wagging his tail, all the ugliness he
could from his son's face, and started to embellish
him instead. And being both ingenious and deft (so
the tail asserts), he turned, in one instant, the
nauseous face into a gorgeous one. Or indeed almost
gorgeous; for looking at his son from several
angles, he verified, with his habitual exactitude,
what he already knew: namely, that 'almost' keeps
always company with most other things, and that,
regardless of his efforts, he would at any time,
only obtain 'almost beautiful' or 'almost ugly',
which are practically the same. "That must be a
side effect of relativity", he reflected, smiling
with condescension at his own wisdom.
Acting in accordance with his insight, he then
resolved to bend this state of affairs, as if it
were a portion of space or a beam of light, and
make a fresh attempt. And when he noticed that
'almost' still refused to submit, he tried yet
again, and again, changing his son's face back and
forth, from beautiful to ugly, and from ugly to
beautiful, a thousand times, or perhaps a thousand
and one, or maybe infinite times. For not even his
gossiping tail could tell how many were the times
the devil changed his son's looks, although both he
and his tail can count everything with extreme
accuracy whenever they wish.
In one of these instances (the last to be
precise), while the devil was either bettering or
worsing the make-up, he suddenly gouged, with nails
sharp like knives, his son's eyeballs from their
sockets. Such things happen! Feeling that his
boldness was now beginning to surpass his
dexterity, he came, as he picked the eyeballs up,
into his infinitesimal mood, and as a result he
hammered the floor with his tail with such pressure
and speed, that he turned it into a singularity,
that is: he degraded it to 'project of a floor'.
This accomplishment, we learn, filled the tail with
cosmic pride, even though its master had wished
also her to turn into such a singularity, remaining
for ages as a mere 'project of a tail', instead of
hanging around so closely.
Now, from one angle (the devil has many angles,
says the proud tail), the eyes-issue was not a
problem. But from another, this was a serious
matter; for now that the eyes were separated from
the make-up, he could no longer exhibit the whole
dashing picture, and thereby let his son feel as
proud as the sticky tail. He would have instead to
start from the very beginning, which is like
becoming infinitely dense, a state capable of
overwhelming anyone through the deprivation of both
time and relativity. "And although both relativity
and time might cause irritation, that's everything
we got", he persuasively told himself; "...or
almost", he rectified with vague apprehension just
to feel safer. But since despair borders on
revelation, it was then that a deep insight opened
before him as if it were the gate of his very home,
unveiling the familiar landscape of an optimal
solution which he promptly implemented: he put the
eyeballs inside a transparent box and, having glued
it at the top of his son's head, he laid a card
beside with the devote caption:
"The eyes
originally covered the holes beneath."
"Now the world will see...", he said with his
handsome voice. "Almost...", corrected the
fastidious tail, "...your son won't".
Carlos Parada
Lund, May 2001 |