In Trail of the Clash of two Civilizations

Nature is full of mysteries which compel one to explore the hidden passages. The passionate urge might take a traveller into the deepest corners of forgotten lands which have truths to be unraveled. Each and every space dynamics has its own temporality and ideological framework which shapes the entire course of ones ideas. The paper will talk about the travelling account of Che Guevara captured in his memoir The Motorcycle Diaries. The book traces the early travels of this Marxist revolutionary. The idea behind is to mark the curvature of topological transformation and its impact on the ideological framework of a person. The paper will explore the interconnections and impact of different spaces encountered during a travel and the nature of discourse which develops during such explorations. Ideas have a disposition to travel with the moving discourse where the architectural domain shapes the outline of the traveller’s thought process. Here Che Guevara’s trip through South America will portray the flow of ideas through different spaces formulating the base for his revolutionary ideas. Through the account of Francisco Pizarro during the conquest of Incan civilization and through the impact of this event on the civilization as a collective whole, the paper will attempt to analyze the ethical curvature of two distinct civilizations, namely the Incan and the Christian Imperial West. The conquest of the South American continent and the consequent clash was cataclysmic, as the socio-economic subversion is still embedded almost non- retrievably deep in terms of its collateral. The paper will include “Heights of Machu Picchu” by Pablo Neruda which again is set during his travelling account to Machu Picchu, which is the marker of a lost civilization where the distorted architecture echoes the richness and the loss at the same time. 
 

painter is forever on a journey to fill the gap through the expressions via colors, blankness and forms. The curvature of journey is non-linear which is why it is a pursuit not an enclosed, determined travel. The cognition of painter embarks on a journey towards the improbable, towards the unknown sublime. Here the medium of expression becomes the meeting point. It serves as a bridge between the two. The poetry of Neruda has unfathomable depths; an expanse which cannot be measured thus, never seeks finality. A journey in similar sense never reaches finality, it represents continuation. The movement of stars in Starry Night by Van Gogh seems as if the strokes are on a journey and at the same time it paints the picture in continuation making the painting of the beyond visible. It not only creates a linearly moving image but captures the velocity, the flow of the cosmos.
When a man has an urge to explore nature and its contours, the journey begins with the quest to visit its depth.Che Guevara puts forward his travelling account in his memoir "The Motorcycle Diaries". The book traces the early travel of this Marxist revolutionary to South American continent. His journey extends from Argentina to United States via Chile and Peru. Along his passage of journey he encounters various places which had a tremendous influence on his personality. Every space has its own dynamics which shapes the ideological frame of a person. The attempt of this paper is to explore the interconnections and impact of The seductive illusion of dream worlds, which every man is an accomplished artist in creating, is the precondition of any kind of visual art and of an important body of poetry. We take great pleasure in the sensual proximity of form, where all shapes speak to us, and nothing is listless or unnecessary.
Nevertheless, even when this dream reality is manifested before us at the greatest pitch of intensity, we hold onto the impression, flitting in and out of consciousness, that it is still an illusion (68) Nietzsche has placed the forms of aesthetics in terms of order and disorder, Apollo, considered as an ethical god, commands moderation from his followers, coupled with self-knowledge in order to maintain it. Thus the admonitions "know thyself" and "nothing to excess" coexist with the aesthetic necessity of beauty; while, on the other hand, hubris and excess are considered to be malign spirits of the extra-Apollonian realm; qualities of the age of the Titans, of the world of the barbarians. (73) Without order Dionysian has no meaning and without disorder Apollonian cannot exist with sublimity. It is with the co-existence of the two contradictory senses that the aesthetics is evolved and the consciousness is developed. The illogical logic of the truth, the irrational rationality of the beauty, and the purposelessness of the purpose make a balance between the contradictions which is not like an assumed equilibrium rather a contestation.
Nietzsche says that "Apollo could not live without Dionysus" (73). He further adds on to explain this coexistence and he illustrates and there is no truth in that. "Everything that we now refer to as culture, education, and civilization will one day kneel before that infallible judge, Dionysus" (Nietzsche 76) and at the same time "the Apollonian wrenches us out of Dionysian universality. With the tremendous impact of images, concepts, ethical teachings, and stirrings of sympathy, the Apollonian lifts man out of this orgiastic self-destruction" (Nietzsche 76).
Human civilization has been subjected to utter decadence, hollowness and fragmentation since they realized their power to channelize their energies towards conquering over other. The civilization has undergone a journey from peace to turmoil, from collective to individual, and from nature to personal. Auden in his "Muse de Beaux Arts" says"where the dogs go on with their doggy life" (12)   How you tried to set them free.

They would not listen
They're not List'ning still Perhaps they never will.
In 16 th century the European power wreaked havoc onthe newly discovered land, that is, American continents. The conquest of the South American continent and the consequent 'clash' was cataclysmic, as the socio-economic subversion is still embedded almost nonretrievably deep in terms of its collateral. The rich lands of this continent lured the European Neruda's "permanent rose" (161). This is explicit in Che's The Motorcycle Diaries where through his way to Estaque town he comes across legendary valleys, irrigations channels built by Incas, the crops cultivated by Indians and the manner of growing crops in terraces harps back to the primitive native societies. He says "The town's very breath evokes the time before Spanish colonization. But the people are a defeated race whose stares are tame, almost fearful, and completely indifferent to the outside world". He even found indigenously American peasants in Chilean countryside whose appearances and dresses signify the existence of purity of race untouched by exoticism.
The more evident fact is the amalgamation of the two civilizations and the imposition of European over the other especially in the religious space. The cathedrals of Lima and Cuzco depict the imposition and the clash. Cuzco was the original capital of the Inca city which was destroyed and crudely reformed by the colonizers whereas the reformation of Lima, which they made the new capital, is somewhat stylized through the imported European art. Lima represents the typical Spanish colony with its colonial church and culture whereas