The assertion from the literary world in the examples given provide a preamble to examining the paradigm of fate. All that is presented is justified by establishing endoxa, going through aporias and proving that human fate is an ontological fact, aligned with Latin saying: Ducunt volentem fata, nolentem trahunt.
In the play Hrvatski Faust [Croatian Faust] by Slobodan Šnajder, a Croatian contemporary dramatist, the artists move on the stage like marionettes hanging on threads held by someone hiding high up above the stage.
In the stage comedy The Marriage of Figaro written by Pierre-Augustin Carone de Beaumarchais in the 18th century, the main protagonist speaks to Cherub the following words: You came into this world without your knowledge, and you will leave it against your will.
In the 1st Epistle (to Corinthians) (4:7) by St. Paul the Apostle, we can read the following message: Didn’t you receive all what you have, and if you did receive it, why do you boast as if you did not?
All the three messages turn our attention to a transcendent, supernatural, and incomprehensible dimension of every human existence; as we cannot choose to come or even not to come into this world, we cannot choose to come into this world as male or female, stupid or intelligent, beautiful or ugly, tall or short, healthy or sick, we cannot choose to receive the talents to use them during our lives; therefore, we are not given power to solve aporia by trying to put together these concepts despite absolute freedom of action given to us within the framework of our existence, which is eo ipso lack of freedom, the absolute freedom not only subdued to our conscience given to us as a gift to act according to the Truth, because the only ontological foundation of every human being, even whole Nature and all visible and invisible World, arises from the only possible Substance where the Truth is the only measure in every matter, leading to the invisible threads of Providence described in Latin saying: Ducunt volentem fata, nolentem trahunt, that is all end up where the inevitable fate leads them, so that every attempt to change fate shall be fruitless and futile because no one’s life can have good ending if one would be successful healing from one’s self.
If it is so, and it is, then the only possible answer to the most important question a human being can ask throughout her/his life is always positive – that this world is not disorderly concept originated by chance, that is to say Chaos, in which any rational and moral reasoning would be inevitably and consequently impossible, but this world is a meaningful and orderly concept, therefore Cosmos, which has its Creator, therefore God is, what with the ontological proof of His existence, which gave St. Anselmo of Canterbury, points to the simple fact that of all the countless possible ways that could shape every single human life, and overall human history, all happens in the only way that remains permanently inscribed in our memories.
All this reveals how about the unspeakable can only be spoken as an outcome of inconceivable inspiration, which is exactly what happened to our author Vinko Vrbanic, who, like the other great writers who have spoken about the unspeakable as the absolute abstraction by using specific human earthly, material words when writing about concrete human destinies and events, constantly, successfully and consistently points to what is hidden from the material eye, and that is, how in Furmani [Furmans] as well as in Sokolov let [Falcon’s Flight], all-present transcendent dimension of human and universal existence, which can neither be reached nor explained, irresistibly evoking Cioran’s speech (Cioran, Emil: Tears and Saints) about suffering being the essential human trait, solitude being the only befitting form, as well as the paradigm that before we die all must be killed in us, or otherwise the sorrows beyond the time and the happiness beyond the history will remain beyond our reach, which again all points to the fact that this world is nothing more than envisioning sorrow, and ontological and cosmic, that is to say eschatological, primordial, and fundamental principles of existence.
It does not matter what kind of self-destruction you choose – as if the protagonists in Furmani – Sokolov let [Furmans – Falcon’s Flight] say conscious of inevitability of their ontological and eschatological destiny, which they by no means want to change, but they accept it with joy of their own and peculiar optimism.
Someone buries herself/himself in the library, and someone in a suburban tavern – they would say – the result is the same. The starting point is always that of futility, and the ultimate goal is destruction, which leads to self-destruction of all that restrains them from the total immersion in their own suffering and the pain of their own existence, from which arises directly that worthlessness of life has a meaning of the higher order of existence, because only if you deliberately and passionately grieve over the consolations of darkness and participate with your spirit in their annihilation, you would put yourself above other forms of life and lives of other people. In this case, you will reveal Death, which, when we have a closer look as Wolfgang Amadeus Mozart wrote in a letter to his father, is the true and only goal of our existence as the key that opens the door leading to our true happiness.
Like Mozart, our heroes are not afraid of death, on the contrary, they know that they must accept their destinies with joy and passion, whatever they may be, and I am convinced that Djuro [George], the hero of Glasovi u šumi [Voices in the Forest], at the time of his death, unlike Mozart’s Don Giovanni in the final scene of the opera, accepted the offered hand from beyond the other side, and a request to repent so he repented, realizing at the time of his death that salvation is the only true purpose of every human existence.