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The plant was dominant at the turn between movement andimmobility, between the ability or inability to feelwhereas the existence of the animal rests on the edge between lifeand death. Death precipitates the animal from the outside, she threatens him alsoand from within, since it is only a living organism can die,only life allows death to sneak up on the living. It is clear thatthis is what determines that a dual significance that is earnedanimals at the end of the eighteenth century: that the animal is a carrierthe death to which he is subordinate, it is lifepermanently absorbs itself. Animal and at the same timeincluded in the nature of nature, and includes somethingunnatural. Transferring its most secret essence ofplants in the animal life leaves the table spaceorder and returned to a wild state. Life isdeadly in the same motion, which condemns her todeath. It kills because it lives. Nature no longerknows how to be kind. That life is inseparable from murder,nature-from evil and desire-from the unnatural, the Marquisde Sade have also spoken of the eighteenth century, who on this news was numb, andthe new age that wanted to condemn to silence the deGarden. Forgive me the audacity (and for whom is it audacity?),but the "120 days" was a marvelous, velvety underside "of Lectures oncomparative anatomy". In any case, in the calendar of ourarchaeology de Sade and Cuvier -- contemporaries. It is the position of the animal, granted in the humanimagination the disturbing and mysterious power, was deeplyrelated to the diverse functions of life in the thinking of the nineteenth century.Here, apparently, for the first time in Western culture lifeexempt from the General laws of being as it is revealed andanalyzed in the view. Life becomes a major forcewhich going beyond all actual and possible thingsat the same time and helps them to identify and continuallydestroys them by the violence of death, protivopolojnaia itself, being, asmovement -- immobility, time-space, a hidden desire- obvious expression.
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