Trinity Blood double drabble: Faith
Apr. 29th, 2006 10:16 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
narcasseJ.S. Bach’s Passacaglia and Fuge in C minor which really rather goes with the drabble.
It seems that Isaak is just as much of a fan of counterpoint as Eduard.
Faith
Disclaimer: Trinity Blood belongs to Sunao Yoshida, Gonzo and others.
++++++++++
For the most part, Isaak really has very little use for churches with or without the implication of Vatican power. Their architectural magnificence fails to touch him, nor does the miasma of their faith. Even the glorious spires of La Sagrada Familia left him cold or colder than usual, so he wryly supposes.
He finds them to be hideous echoes of Babel worth little more than his disgust. He has no faith in ecclesial monstrosities.
To him there is no such thing as God, no truth to the idea of salvation. Yet in the echoes of many a church-organ he has found transfiguration. A purer devotion than he might have given to any deity is this barrage of sound, of unearthly melody with which he has filled a thousand sepulchres. Within the sound itself is the truth of his eternal soul, an exaltation of magnificence and power.
Here, in the movement of resonant perfection is the core of Isaak’s faith.
If he were to find at long last a God worthy of such devotion, they would have his all. For such a deity he would forsake all others and take up his Crusader’s mantel.
He has never found that God.
++++++++++
La Sagrada Familia is one of Barcelona’s many churches.
Because it’s quite likely that Isaak can play J.S. Bach’s Passacaglia and Fuge in C minor after all.
It seems that Isaak is just as much of a fan of counterpoint as Eduard.
Faith
Disclaimer: Trinity Blood belongs to Sunao Yoshida, Gonzo and others.
++++++++++
For the most part, Isaak really has very little use for churches with or without the implication of Vatican power. Their architectural magnificence fails to touch him, nor does the miasma of their faith. Even the glorious spires of La Sagrada Familia left him cold or colder than usual, so he wryly supposes.
He finds them to be hideous echoes of Babel worth little more than his disgust. He has no faith in ecclesial monstrosities.
To him there is no such thing as God, no truth to the idea of salvation. Yet in the echoes of many a church-organ he has found transfiguration. A purer devotion than he might have given to any deity is this barrage of sound, of unearthly melody with which he has filled a thousand sepulchres. Within the sound itself is the truth of his eternal soul, an exaltation of magnificence and power.
Here, in the movement of resonant perfection is the core of Isaak’s faith.
If he were to find at long last a God worthy of such devotion, they would have his all. For such a deity he would forsake all others and take up his Crusader’s mantel.
He has never found that God.
++++++++++
La Sagrada Familia is one of Barcelona’s many churches.
Because it’s quite likely that Isaak can play J.S. Bach’s Passacaglia and Fuge in C minor after all.
