#fyozai wishes to become what they cannot—the other. #Fyodor represents immanence, whilst #Dazai embodies transcendence. He offers salvation to mankind through life, while Fyodor bears the burden that Dazai lifts without guilt; he bleeds to cease the narrative by death, while Dazai prolongs suffering through the incessant search for a reason to live. Fyodor’s immortality bypasses nature, ultimately desiring to eliminate ‘sin’ in rebellion–asserting himself in God’s position to judge; to dismantle objectivity is to liberate oneself from blame; purpose is within impunity, which is only structured by a transcendent framework. He longs to be as Dazai, who desires a purpose to live in subjectivity, because life wasn’t given value in the first place. Striving for the objectivity that Fyodor rejects, ‘For the dawn that exists somewhere.’ In truth, one's curse is the other's blessing. The grace of asymmetry is that each half beautifully fills the other's emptiness. Fyodor embodies immanence, a passivity confined within the given conditions of divine order, where every enclosure is sustained by fixed interior structures. He believes it is ‘God’s failure’ by the antecedent of total depravity. Over centuries, he experiences moral entropy, corroding his ethical architecture. Moral structures invariably meet with historical fatalism: ‘Humanity is immutable,’ claiming mankind’s sinful nature is unalterable; he’s witnessed it incessantly. If God fails to preserve virtue from the outset through life, then Fyodor will bear the role to reverse birth, guaranteeing sin as a constant disposition. If the hands of the Creator propagated life in humanity’s conception, then destruction is the means to fulfill peace for the end. In attempts to offer salvation, he is condemned in the process through immanence. Nevertheless, his love persists through which his devotion to pure malevolence as an antagonist enables the heroic forces to act. The instinctual drive of a ‘Heart’ predestined this tragedy: a bleeding immortal, once a being with sentience, but committed to be absolute evil for the greater good. Dazai is transcendence; he is not confined to interiority, but anchored in a dynamic movement that constitutes self-creation. He preserves life for longer term practical ends for stability. ‘Goodness’ isn’t the driver, but his capacity to surpass the given. Morality becomes instrumental, and it is purely for the benefit of the collective. Through his actions, his identity is sedimented; to grasp value in his life is to determine it, devoid of any objective standard. ‘One must imagine Sisyphus happy.’ Unlike Fyodor, there remains no inherent interest in humanity's salvation. In rebellion, man’s immutable ‘weakness’ becomes Fyodor’s instrument, to prove redemption is possible by defiance of the inevitable. Since immortality deconstructs virtue by removing its temporal nature, then man’s transitory nature is also overridden. This impermanence contained in Fyodor’s being grasps eternity by transgressing finitude without divine delegation. Does this prove that death and the latency of mankind's inviolate nature can be transgressed? Fyodor will attempt to condemn God, if it proves successful, his own framework of fixed structures would collapse. In the end, inculpability is salvation. His malevolence merited a conviction that would’ve already ceased to exist, where absolutism dissolves into subjectivity, reducing his hatred into merely a concept under time governed by an indifferent universe. He became a stasis suspended; he spoke ‘I would like to be the essence of everything.’ On a subatomic level, the universe is a single continuous fabric of shifting energy potentials–where existence now precedes essence, where everything simply manifests, the ‘divine’ condemnation would have no structure to judge. This is all for humanity’s interests; Fyodor lives as a hero who seeks transcendence so that mankind would no longer stray–but survive in liberation. - @amijima_