Dear Branka,
Sorry for the long delay in responding to your post. Sometimes I think I would need to write an entire book to just begin to write a commentary on the various intriguing points in some of your messages. Here I will try to do it in just a few lines.
You are so right as to what Roger and I have done here. You seem to be one of the very few persons - except for perhaps Kathleen and Cheryl - who have perceived the extent of the intensity it has all had for us both. I think it is the power of El Bosco's personality, as evidenced through his artwork, which worked the miracle. I find it so difficult to explain, to either myself or anyone, the amount of thought that I have dedicated to both Roger and his poem in the last days. I told him that I considered it to be the most admirable "life statement" for anyone to ever write. I did not mention its intrinsic qualities, its crystal-like beauty like that of a Gothic cathedral, the fact that it sounds like a sort of "total poetry" to me... I did not realize either that it could actually be such a huge life statement for me as well. Would I love to write something, anything like it myself! And here is another coincidence or, better, another convergence between the two of us. Of course, I cannot in the least compare with him or his art!
The rest of your post is so profound that I am not sure I can comment on it at all within the limits that I have put myself for it. However, I will mention yet another coincidence, this one related to your choice of a favorite among Bosch paintings: the outer wings. I could not mention it on this thread as one of my own favorites too (actually my second favorite after Bosch's Saint John the Baptist in the Wilderness... or maybe all the way round) as this painting is so atypical of his general work. I mean, it could have somehow disoriented some of the visitors, even though it constitutes the perfect enclosure for The Garden of Earthly Delights. For one thing, it is so magnificently beautiful and perfect and all-encompassing in an esoteric way and, at the same time, completely atypical from the rest of Bosch's artwork. In addition, I have always considered it to be a proof of Bosch's connection with the primordial, Hyperborean tradition such as has been preserved in one piece in certain Hindu sacred texts only, but most likely transmitted at some time or another through the Norse traditions as well. The image below clearly shows this latter point.
Even though the image centers here on the Yggdrasil, the "World Ash" of the Norse mythology (actually another representation of the Tree of Life of the ancient traditions throughout the world), the connnection with Bosch's God creating the Earth is most evident. The implications are, again, too profound and numerous here as to refer to them right now, but you have pointed out at the main one: the bipolarity the human race has undergone over long and hard millennia, and from which it will hopefully be delivered as soon as the Dark Age (depicted on the right panel of The Garden) ends and the Golden Age (depicted on the left panel) is once again restored.
But I will stop here, lest the post would become too lenghty. There is still the paragraph about Jesus and Saint John the Baptist (and Luka) to consider, but I guess it may wait for tomorrow... or maybe the day after. I will only tell you that I will never think of Luka again without evoking Jesus and Saint John the Baptist at the same time.
Thank you so much for your fascinating post and the opportunity to respond to it.
Best Wishes,
Luis Miguel Goitizolo