Way back in June when EmunahSpeak was launched, its readership consisted of about two and half relatives.  As a consequence thereof, the first few pieces came and went (into the archives) with nary a fingerprint on them.
Mañana was the very first piece, and given all the recently talk about Moshiach, some of it serious and the rest of it very loose, we thought it timely to republish it so that it can be read by all of our readers who missed it. 
Mañana means tomorrow in Spanish.  It also defines a lifestyle.
In the same way that Israeli irreverence to detail is encapsulated in the expression yashar yashar, which is the de rigueur response to any query as to directions, mañana mañana is the bottom line of a culture that would rather relegate the vicissitudes of life to the back burner.
And this brings us to Moshiach. 
As  the house lights begin to dim on the final act of this world’s six  thousand year first round run, we are inundated by all the signs that  Chazal have given us to signal the coming of the Moshiach.  And when  coupled with the reality and implication of the Iranian nuclear program,  Hezbollah’s 50,000 rockets aimed at our jugular, the distinct  possibility of Egypt once again becoming a confrontation state, the  almost universal hostility of the nations to both Israel and the Jewish  People, and the possibility of world wide economic meltdown, we can feel  in our bones and almost taste the palpable closeness of Moshiach.
Tomorrow that is…
…because  mañana is when he’s coming.  Never today, mind you, always mañana. And  therein lies a problem, for the Rambam states clearly in the 12th  of his Ikarim that “....and even though he may delay, with all that, I  await him every day that he will come.” It seems that the more we see  the signs the more clearly we see tomorrow’s scenario.
That most of us think this way is an indisputable fact.  The why behind our collective mindset is Aristotle and the apikorsis of drama.
Aristotle’s rules of dramatic construction were laid down in his Poetics with a few thoughts on the subject also scattered about his Rhetoric.  Although he never says it in so many words, the bottom line foundation of Aristotle’s laws of drama, as put forth in the Poetics,  is that man is the master of his fate.  A protagonist that doesn’t  believe in “My power and the might of my hand,” is dramatically  speaking, a wimp.
In  reality, nothing can be more dramatic than an open miracle, which is  nothing but an open manifestation of the Yad Hashem.  Although his  dramatic construct seamlessly replicated reality to the extent that one  could lose oneself in it as if it were reality itself, it was the genius  of Aristotle, in all of its inherent wickedness,  that it was man, and  only man that made it work.  “Good drama” cannot brook any intrusion by  Hashem.
The  same miracle that would rivet us to our seats if we would be privileged  to witness it would be but an emotional let down in the context of a  dramatic production, be it a movie or a stage play, because Aristotle’s  drama world is the very antithesis of Hashem’s world, and it follows its  own rules which are sacrosanct within the genre.
While the existence  of nature has a very definite function in that it hides the Hand of  Hashem, thereby enabling us to exercise our free will, Aristotle and the  other Greek philosophers introduced the concept of Nature for the purpose of creating  a world without the Creator.  And Aristotle’s laws of dramatic  construction parallel the Greek view of Nature in that they also write  Hashem out of the script.
By  making Man the mover and shaker of the Dramatic world, Aristotle  forever poisoned the collective mind of the West.  And given the  relegation of both Aristotelian physics and philosophy to the status of  historical curiosities, one can reasonably argue that Aristotle’s  greatest influence on the Western mind was by way of the theater. 
While  Broadway, Hollywood, Piccadilly, and all the rest prove the point, that  in and of itself doesn’t bring the point home to those who have no  truck with secular entertainment in any of its debilitating  incarnations. 
For that we need Bais Yaakov.
Is  it not true, for instance, that the ending of a Bais Yaakov play, in  which the girls save themselves by outwitting the Gestapo, has more  dramatic appeal to us than an ending in which they are saved because  their pursuers are all struck down by lightning a few minutes before  they were to arrest the girls?
And  while we would, no doubt, be experiencing the allowable limits of  ecstasy in this world if we actually witnessed SS men being zapped by  lightning at the doorstep of a Bais Yaakov school, in the context of a  dramatic production it would be a terrible ending.  Anyone who has had  the slightest experience with drama even as a couch potato intuitively  understands this.
It  is ironic in the extreme that many of those who are careful not to  bring television, videos, newspapers, secular books, the Internet, and  yes, even the radio into their homes, have nonetheless been influenced  by Aristotle’s inversion of emes and sheker as incorporated in his  dramatic model.  So in spite of the fact that this imaginary play is  about girls who are saved from the Nazi beasts by a miracle, we would  rather have the miracle kept under wraps to let the girls demonstrate my power and the might of my hand by extracting themselves from their predicament. 
Such  is the power of Aristotle’s dramatic construct, and without his  intended obfuscation we would all be applauding the miracle.
The  reason we are mañana oriented is because we see that the trend lines  (world economic dysfunction, Hezbollah, Iranian nukes, Egypt etc.) are  building toward a climax. It would be a dramatic no no for Moshiach to  put in an appearance today, and that’s why almost no one can see it as a  possibility, despite our fervent hopes to the contrary.   
The fact that this is total sheker manages to elude us.
Although  all of us readily acknowledge that Hashem is bound by neither time nor  space, we have nevertheless locked Him into Aristotle’s dramatic model,  and we are totally unaware that we have done so.  Climax, anti-climax,  and all of the other dramatic concepts and structures by which Aristotle  created a virtual reality are brilliant forgeries devoid of any  substance in the real world.  They have nothing to do with the way that  Hashem runs His world and nothing to do with Moshiach.
Hashem keeps sending us signs, and we keep misreading them. What is meant as a wake up call spelled NOW, as in:
Pay attention, I’m about to do big things NOW, so prepare yourself for Moshiach and anticipate him NOW, gets morphed into yet one more scene in Aristotle’s long running Moshiach epic, as we wait to see how it all plays out.
In  the way a person wants to go, that’s where Hashem will lead him.  The  more content we are to be couch potato meshichistas, the more Hashem  will prolong the drama by adding “scenes.”
When we finally grasp that what is required of us is to recognize that
these signs are about today rather than tomorrow, we will daven each tefillah, learn each blatt of gemora, and do each chesed etc., as if it were the last one before Moshiach.  
And as soon as we do, the movie will stop, and the realty of Geula will displace the virtual reality of Aristotle.
So when will Moshiach come, anyway?
When  the Rambam says: “....and even though he may delay, with all that, I  await him every day that he will come,” he most certainly means today,  not tomorrow.
Today?
You  are standing under the chuppah with your chosson or kallah, and just as  the mesader kiddushin is about to begin the brocho, everyone in the  chuppah room faces the two big doors in the back in response to a very  loud and disturbing tumult taking place in the lobby.  Instead of being  upset you sincerely hope that the tumult taking place on the other side  of those doors is in response to the arrival of Moshiach.   
That’s the Rambam’s today,  and it means that no matter what we are doing at the time, it will be  as nothing the second we hear that Moshiach has come, Aristotle  notwithstanding.
Everything else is mañana.