|
Sima
Shahmoradi
Femininity
as
such,
like
the
Hindu
notion
of
māyā,
is
the
mediator
through
which
“being”
is
introduced
into
“nothingness”
and
this
is
the
very
point
which
makes
the
“feminine”
to
play
an
ambiguous
role;
it
is
kind
of
the
same
“ambiguity”
which
through
its
inherent
and
motivating
equivocality,
the
“phenomenal
world”,
the
realm
of
“relativity”,
emerges
as a
dazzling
and
as
if
ungraspable
illusion
before
the
eye-subject:
the
chess-like
design
–
simultaneously
referring
to
“play”
and
“battle”
–
presenting
itself
as
the
scene
of
unceasing
battles
between
innumerable
opposing
forces
which
are
originated
from
the
ambiguity
of
feminine/māyā.
Once
deeply
gazing
at
it,
a
non-acting
woman
–
sad
and
glorious
and
yet
enticing
–
makes
herself
manifest
through
the
very
context
of
the
battle
scene:
“Is
it
then
the
moon/
That
has
made
me
sad,
as
though/It
had
bade
me
grieve?”
Shahram
Khodaverdian
the
poem
quoted
is
by
Saigyo
Hoshi,
Japanese
poet
of
12th
century
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