Viewed from the alternate side, Pinocchio could be seen as a 'super-classic' which is better than the original fairy tale, owing to a crazy-eyed or loony-tune topicality.
The basic plot may be similar to the original, but for once Disney lets the grotesque distortions of animation work to horrific effect. Seduced by the applause of bright lights, Pinocchio has his 15 minutes of fame (some 20 years before Warhol) and is then caught lying to the blue fairy.
We then have the progressive elongation of his nose in one of the grotesque transformations of the body which can only really have a fairy tale origin (being unreal.)
Animation makes the unreal real, and similarities become apparent in macabre situations. Physical appearance is then ripe for offensive comments.
This is just an exaggeration of the reality that differences have similarities. Traditional communes have low-level feuding where psyches clash through strength, thereby forming affinities (as Pinocchio does with Pinshaw.)
If cartoons have a type of physical realism (as in stereotypes a la CC Beck, prev), this is what 'they' don't want as it ushers in normal abuse! They want a universal sameness, weak psyche.
Only a strong psyche has the lowdown on reality, and is not simply given the illusion of facts and figures (by our beloved leaders.) What is real is the physical state of innocence that can be seen in cartoons.
Those who look within awake (Jung) - spiritually, and therefore also to the physical reality.
People say I'm a Pollyanna Utopian, but I am still with purity and innocence. A state of grace is a state of mind. I have learnt through spiritual discipline that no matter what the world throws at me, I'm immune. (Carlos Santana, DT)
However, Carlos is also down with the physical reality of life on Earth.
I'm not discouraged, because the world is literally vomiting. And, you know, when you vomit, you're gonna feel better, because you're getting rid of something that doesn't belong in your system.
This double-faced nature of innocence and realism is a Mediterranean trait that goes back to the ancient Greeks - the ideal Apollo, the degenerate Dionysus. (See also Raducanu insouciance.)
Without the realism, imagination can just be illusion (of the Musk order); without the idealism there is no cosmic vision.
When you're washing dishes and scrubbing big pots and pans, cleaning the yard and bleaching the floors, it's glorious to dream.. It's incredible how much imagination takes you into a realm of fruition. That, if you believe it, you can achieve it..
What I'm diving into is learning how to go deeper and deeper into the note.. You can take a melody outside of time and gravity. That's what real musicians do.
Classical music is unreal, and likewise animate nature is connected to the unreal, and myth to the physical reality. Myth and reality are linked by physical acts (Raducanu's free-form play). Somewhat similarly, Wung Fu has stylised animal forms of fighting (see Jeet Kune Do, prev.)
Unreal (transformations) have similarities in the movement of line, and the implied meaning - along with the subsequent scene on Pleasure Island - is obvious. One doesn't need to be told something that is so obvious, and in fact in the commentary no mention was made of this point.
However, in the 'real world' fame is an aphrodisiac to increasingly banal amorous pursuits of neither physical realism nor any sense of psychic purity. No one seems to notice owing to the convincing illusion we seemingly are supposed to cohabit.
Fairy tales clearly work because the story and imagery have archetypal significance (to the id) and so one doesn't need long-winded explanations. In Pinocchio, songs are often used to advance the story in clever, music hall-type routines.
Fairy tales, because they deal with the differences of form - human, animal, trees - have also the similarities of form in terms of the movement of line. This could be a branch on a trunk or antagonistic pairs of muscles, in the way opposites tend to adopt balanced positions in nature.
As has been noted previously, when things are different they also have similarities - in antagonistic principles of balance. The principle of similarities and the idea of differences are just two sides of the animate universe.
Humour and parody and caricature are clearly made possible by this eventuality, from Aesop to the late 20th century (see Pilote prev.) The donkey transformations just show how humorous the honking asses are, but of course in the context a mortally threatening earful. The macabre state of affairs is true to archetypal form and has the realism of form.
Whereas modem science ignores form in its DNA-style labs, the reality of transformation is utterly horrific. What passes for'their' reality is really only a pseudo-reality that convinces the ego (in terms of chains of reasoning etc.) Highly hermetic.
The unreality of fairytales has the realism of form that often plays-up the similarities of differences for comedic or horrific effect (the wolf in Red Riding Hood).
Life lived as an antagonistic pursuit cannot possibly be logical (it can only contain logic, see prev.) Only the illogical (balanced) use of logic (DNA) can give us the simple braying of Dionysus's donkey.
A logical world has to ignore the fertile ground that is where Dionysus and his beast frolic and celebrate the seasonal harvest (of the grape.) The active world where the donkey is in a field or carrying firewood in traditional country pursuits.
A simple fable is often right simply because it exists in the physical world of direct action where donkeys and crickets have their places. The world of the ego has an abstraction that is essentially illogical! Where Dionysus's donkey roams there exists fertile ground, forest and therefore the ritual pursuits of the hunt.
It is no abstraction but a coordinated countryside pursuit that creates gay abandon. In such a situation, the psyche is strong and pure, attached to natural processes and the cultural practices of skinning, storing etc.
On a maritime scale, this pursuit has been going on for hundreds of years on the Faroe Islands (Denmark), where dolphins are ritually slaughtered. The bloodiness of a recent event predictably incited comments, such as this from Zac (see 'the unmentionable').
This is one of the most sickening sights I've ever seen. It shames our species.
One suspects he means the visible blood (as opposed to invisible slaughterhouses) and the traditional use of blades to kill by anachronistic reactionary peoples of the island. On a historical scale, American Indians would slaughter buffalo in a cultural practice allied to the fertile grounds wherein they dwelt.
The fertile world has to contain opposites since it is to do with life and death (revival from decadence). The ancients were not slaves to hermetic systems but had the two-faced theatrical pursuits of comedy and tragedy (see prev on Aristophanes.)
A fertile world has the macabre gods and goddesses of Hyboria (see Yaple, the old gods.) The twin masks of sorrow and lightness have a somewhat Mediterranean bias, where a melancholy air can refresh the psyche (the counter to Adele.)
PORQUE TE VAS? Because You're Leaving (ignore question mark)