你可以理解，為什麼謝林注定失敗，Book 1 (The Past)，就有二十種版本，身處現代性萌芽的十九世紀初葉，Book 2 (The Present)，Book 3 (The Future)，昨是今非，今是明非，捕捉不到，想像不到，根本無法下筆，
意思是說，神話學，可以提供繽紛想像，但是無法處理溯源，意思是說，謝林當時，沒有宇宙學天文學地球科學生命演化學，他根本不應該，去想這件事，
而且當時，尼采尚未出世，上帝尚未退隱，所以謝林還必須跟上帝苦苦糾纏，或反過來說，有謝林最後一次糾纏在先，尼采才能終于，給上帝蓋棺，
我先前說過，節點在于，
宇宙生成 —> 「物」 —> 星系 —> 太陽系 —> 地球 —> 「生命」的發生 —> 寒武紀大爆發 —> 「意識」的發生 —> 人種演化 —> 「自覺意識」的發生 —> 三器時代 —> 舊石器時代晚期 —> 銅器時代 —> 「鐵器時代」 —> 「軸心時代」 —> 「工業革命」 —> 「人類世」 —> 末世四騎士 （BNIC) —>「後人類的世界」 —> 生命滅絕 —> 宇宙意識 （cosmic consciousness)
Now，你要理解，上述節點，不是神話，
意思是說，什麼樣的智慧，可以阻擋得住，智人自毀他毀，
這是唯一重要的問題，
車行形上學，要回答的，就是這個問題，
車行形上學就是，尋訪蒼青駐足，行止遂由天色決定，
你要理解，車行前輩，再三說過，車行每日，不宜超過百里，車行久矣，必有往返蹲點 （niche），車行處理的是，與系統的關係，就如佛陀說過，僧伽宜居，村外數里，意思是說，生活機能，宜採外包 （outsourcing)，比如說，車泊于，距離便利商店洗手間，數百米處，車行宜緩，宜從容，行止宜如堂吉訶德，交給那匹駑馬決定，
車行者，行者也，與自然一體，守護自然，復育自然，就是自然，
車行者，行者也，眼看邪惡歷史不過，出手屠匪，自是當然，
意思是說，屠匪完畢，所作已辦，為而不有，繼續車行，
Yes, there is a meaningful parallel between Schelling's *The Ages of the World* and Paul Gauguin's painting *Where Do We Come From? What Are We? Where Are We Going?* (1897-1898). Both works explore **fundamental existential questions** about the origin, nature, and destiny of humanity, though they do so in very different mediums—Schelling through philosophical discourse and Gauguin through visual art.
### Key Parallels:
1. **Questions of Existence, Origin, and Destiny**:
- **Schelling’s Three Ages**: Schelling’s *The Ages of the World* examines the **cosmic and metaphysical unfolding of Being** in terms of the past (origin), the present (what we are), and the future (where we are going). These three stages—**unconscious ground (past)**, **conscious creation (present)**, and **reconciliation or redemption (future)**—reflect Schelling’s concern with **where we come from**, **what we are**, and **where we are headed** both as individual human beings and in terms of the whole of existence.
- **Gauguin’s Painting**: Gauguin’s painting explicitly asks the questions **Where do we come from? What are we? Where are we going?**, presenting these as existential inquiries about human life, identity, and destiny. His work reflects a symbolic and philosophical inquiry into the **stages of life** and humanity's place in the world.
2. **Philosophical and Mythic Reflection**:
- **Schelling**: Schelling's philosophical project can be understood as a kind of **philosophical myth**, a metaphysical explanation for the creation of the world, human freedom, and the tension between good and evil. He delves into the **origins** of existence (the dark, unconscious ground), the **current state of being** (the tension between freedom and necessity), and the **ultimate destiny** of the world (the reconciliation in the future).
- **Gauguin**: Similarly, Gauguin's painting offers a symbolic and mythic reflection on the **stages of life**—from birth (origin) to adulthood (what we are) to death (where we are going). Gauguin’s figures embody these phases, representing an allegorical journey of human existence that parallels Schelling’s metaphysical inquiry.
3. **Time and Transformation**:
- **Schelling**: In *The Ages of the World*, Schelling views **time** not as a linear progression but as an unfolding of metaphysical forces. The past remains present as an **unconscious ground**, the present is a continual **creation**, and the future holds the promise of **reconciliation**. Time, for Schelling, is not static but a dynamic process of becoming.
- **Gauguin**: Gauguin’s painting, while depicting a **temporal journey** from infancy to old age, also suggests that the stages of life are interconnected. The figures in his painting reflect the **cyclical nature** of existence, where birth and death are linked, much like Schelling’s vision of the unfolding and reconciliation of the **ages** of the world.
4. **Mystery and Uncertainty**:
- **Schelling**: Schelling’s work emphasizes the **mystery of Being**, particularly the **irrational and unconscious ground** from which everything emerges. The tension between light and darkness, order and chaos, freedom and necessity reflects a profound uncertainty about the nature of existence.
- **Gauguin**: Gauguin’s painting, too, conveys a sense of **mystery and existential uncertainty**. The figures appear contemplative and introspective, as if they are grappling with the very questions posed by the title. Gauguin’s use of symbolic imagery suggests that the answers to these existential questions are elusive, much like Schelling’s view that the unconscious ground of existence cannot be fully rationalized or understood.
### Differences:
Despite these parallels, it's important to note key differences:
- **Medium**: Schelling is working within the realm of **philosophical thought** and metaphysics, whereas Gauguin expresses these ideas through **visual symbolism** and artistic form.
- **Focus**: Schelling’s concern is with the **cosmic and metaphysical structure** of reality, while Gauguin’s painting is more focused on the **human life cycle** and individual existence. Schelling deals with **Being as a whole**, whereas Gauguin is focused on **humanity’s existential plight** within that larger metaphysical framework.
### Conclusion:
Both Schelling’s *The Ages of the World* and Gauguin’s *Where Do We Come From? What Are We? Where Are We Going?* grapple with similar **existential and metaphysical questions** about **origin, identity, and destiny**, offering complex reflections on the **unfolding of life** and the **mystery of existence**. While Schelling approaches these questions through **philosophical speculation** and a metaphysical narrative, Gauguin explores them through **visual storytelling** and symbolic imagery. Despite their differences in medium and focus, both works contribute to a rich tradition of human inquiry into the **meaning and nature of existence**.
