Baroque Cycle Quotes

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Whenever serious and competent people need to get things done in the real world, all considerations of tradition and protocol fly out the window.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
Talent was not rare; the ability to survive having it was.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
Because, Jack, you volunteered to be taken down into eternal torment in place of her. This is the absolute minimum (unless I'm mistaken) that any female requires from her man.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
This is one of the two great labyrinths into which human minds are drawn: the question of free will versus predestination.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
If money is a science, then it is a dark science...it has gone on developing...by its own rules
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
...But they had, perversely, been living among people who were peering into the wrong end of the telescope, or something, and who had convinced themselves that the opposite was true - that the world had once been a splendid, orderly place...and that everything had been slowly, relentlessly falling apart ever since.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
The problem of the librarian is that books are multi-dimensional in their subject matter but must be ordered on one-dimensional shelves.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
In the wilderness, only the most terrible beasts of prey cavort and gambol. Deer and rabbits play no games.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
Leibniz is at the disadvantage of not having seen it. Or perhaps we should count this as an advantage, for anyone who sees it is dumbfounded by the brilliance of the geometry, and it is difficult to criticize a man’s work when you are down on your knees shielding your eyes.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
You mentioned . . . one of the two great labyrinths into which the mind is drawn. What . . . is the other?" "The other is the composition of the continuum, or: what is space?
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
every human being who is born into this universe is like a child who has been given a key to an infinite Library, written in cyphers that are more or less obscure, arranged by a scheme—of which we can at first know nothing, other than that there does appear to be some scheme.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
You can say any sort of nonsense in Latin, and our feeble university men will be stunned, or at least profoundly confused. That’s how the popes have gotten away with peddling bad religion for so long, they simply say it in Latin.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
What, not coins in the bank? Does your purse hang as flaccid as a gelding's scrotum?
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
The Bibliotheque du Roi then gives you the closest thing that currently exists to God's understanding of the world." "And yet with a bigger library we could come ever so much closer.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
The cat, morbidly obese from eating virtually all of Isaac’s meals, fell off the table like a four-legged haggis, and trudged away.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
. . . if money is a science, then it is a dark science, darker than alchemy. It split away from Natural Philosophy millennia ago, and has gone on developing ever since, by its own rules.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
Daniel understood the complaint. For Daniel, too, had once designed a building, and savored the thrill of seeing it built, only to endure the long indignity of watching the owner clutter it up with knick-knacks and furniture.
Neal Stephenson (The System of the World (The Baroque Cycle, #3))
My men think you are dead now, and won’t waste balls on you,” Jack said. “In fact I have let you live, but for one purpose only: so that you can make your way back to Paris and tell them the following: that the deed you are about to witness was done for a woman, whose name I will not say, for she knows who she is; and that it was done by ‘Half-Cocked’ Jack Shaftoe, L’Emmerdeur, the King of the Vagabonds, Ali Zaybak: Quicksilver!
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
And yet viewing several depictions of even an imaginary city, is enlightening in a way," Leibniz said. "Each painter can view the city from only one standpoint at a time, so he will move about the place, and paint it from a hilltop on one side, then a tower on the other, then from a grand intersection in the middle--all in the same canvas. When we look at the canvas, then, we glimpse in a small way how God understands the universe--for he sees it from every point of view at once. By populating the world with so many different minds, each with its own point of view, God gives us a suggestion of what it means to be omniscient.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
You have responsibilities, now, Bob. You must lose this naive understanding of violence! You are embarrassin' me in front of the lads! You can't play by their rules or they'll win unfailingly! You don't engage in courtly play-fightin' with one such as this. You get a great friggin' tree-branch and keep hittin' him with it until he dies.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
No linear indexing system is adequate to express the multi-dimensionality of knowledge,” Dr. Waterhouse reminds him.
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
I'll buy it right now, Jack," said an English voice, somehow familiar, "if you stop being such a fucking tosser, that is.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
Many a ship's officer, caught in a storm or battle, and seized by a natural tendency to freeze up in terror, was moved to action by the vivid helplessness of his crew.
Neal Stephenson (The System of the World (The Baroque Cycle, #3))
Space and Time! Two minor omissions that no one is likely to notice," grumbled Newton.
Neal Stephenson (The System of the World (The Baroque Cycle, #3))
These simple terms—“come about,” for example—denote procedures that are as complicated and tradition-bound as the installation of a new Pope.
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
there was nothing you couldn’t accomplish if you crowded a few tens of millions of peasants together on the best land in the world and then never stopped raping their brains out for a thousand years.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
But Jack was not Polish scum of the earth, barefoot and chained to the land, or even French scum of the earth, in wooden clogs and in thrall to the priest and the tax-farmer, but English scum of the earth in good boots, equipped with certain God-given rights that were (as rumor had it) written down in a Charter somewhere, and armed with a loaded gun.
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
In Memoriam, Louis Anglesey, Earl of Upnor, finest swordsman in England, beaten to death with a stick by an Irishman.’ ” Teague considered it for a moment, then nodded. “In Connaught,” he added. “In Connaught,” Bob agreed, then eyed the ditch.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
The first woman who spent any amount of time aboard this ship was Elizabeth de Obregon, whom we salvaged from the wrack of the Manila Galleon at the same time as him who burned it, one Edouard de Gex.” “He’s dead, by the way.” “Again? I am glad to hear it.
Neal Stephenson (The System of the World (The Baroque Cycle, #3))
Magical?" "Non." "Magnificent?" "Don't be absurd." "Less bleak than anything else we have seen?" "Now truly you are speaking French," the ambassador said approvingly.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
every pirate and privateer has lurking within him the soul of an accountant. Though some would say ’tis the other way round.
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
Let's to the Kit-Cat Clubb.
Neal Stephenson (The System of the World (The Baroque Cycle, #3))
It registered on the mind as a blunt impression that could be talked about only by smearing it into some gray word like “complicated.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
When later generations come to read about our history they will think they are reading a romance, and not believe a word of it.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
In Memoriam, Louis Anglesey, Earl of Upnor, finest swordsman in England, beaten to death with a stick by an Irishman.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
We say of some Nations, the People are lazy, but we should say only, they are poor; Poverty is the Fountain of all Manner of Idleness. —DANIEL DEFOE, A Plan of the English Commerce
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
At the entrance of this street, a Janissary was pinned to a wooden door by an eight-foot-long spear, which Jack looked on as proving that Yevgeny had passed by there recently.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
‎...Gold is gold everywhere, fungible and indifferent. But when a disk of gold is stamped by a coiner with certain pompous words and the picture of a King, it takes on added value -- seigneurage. It has that value only in that people believe that it does -- it is a shared phant'sy.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
The answer is, I chose to seek my fortune. Failed. Lost all. Then got a fortune I had not ever looked for. Lost it though. Got it back. Lost it. Got another - the story is somewhat repetitious.
Neal Stephenson (The System of the World (The Baroque Cycle, #3))
This is a very odd conversation,” Dappa observed. “On an arbitrary numerical scale of conversational oddness, ranging from one to ten, with ten being the oddest conversation I’ve ever had, and seven being the oddest conversation I have in a typical day, this rates no better than five,” Daniel returned.
Neal Stephenson (The System of the World (The Baroque Cycle, #3))
Now this was like trying to comprehend all the activity of an anthill, and read all the words in a book, and feel all the splendor of a cathedral, in one glance. Jack’s mind was not equal to the demands that Cairo placed on it, and so for a long while he fixed his attention on small and near matters, as if he were a boy peering through a hollow reed.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
You know," said Jack, "I was a King for a while in Hindoostan, and my subjects would get worked up into a lather about a potato, which to them was worth as much as a treasure-chest. At first I'd want to know everything about the potato in question, and I would take a large stake in the matter, but towards the end of my reign—" Here Jack rolled his eyes, as Frenchmen frequently did during encounters with Englishmen. Leroy seemed to take his meaning very clearly. "It is the same with every King.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
In the center of that open space, a bony woman in a threadbare garment was hunched over a dead plant. Sword of Divine Fire's reaction was succinct: "Fuck!" The woman cringed as if he'd hit her with a bullwhip. Then: "What has happened to our potato?
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
The sand was hard-packed and solid and wet, speckled all over with cockle shells in colors and patterns of such profusion and variety that they must have given the first Dutchmen the idea to go out into the sea and bring back precious things from afar.
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
Like a couple of peasants huddled together in the Cathedral of Notre Dame, Jack and Eliza performed their role in the Mass and then departed, leaving no sign that they’d ever been there, save perhaps for an evanescent ripple in the coursing tide of quicksilver.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
scratched out the first few terms of a series: “If you sum this series, it will slowly converge on pi. So we have a way to approach the value of pi—to reach toward it, but never to grasp it…much as the human mind can approach divine things, and gain an imperfect knowledge of them,
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
No, rebellion is what the Duke of Monmouth did, it is a petty disturbance, an aberration, predestined to fail. Revolution is like the wheeling of stars round the pole. It is driven by unseen powers, it is inexorable, it moves all things at once, and men of discrimination may understand it, predict it, benefit from it.
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
If I had a copper for every fly that swarms on you, beast, I’d buy the Spanish Empire! You smell worse than Vera Cruz in the springtime, and there is more filth clinging to your body than most animals shit in a year. Truly you must have sprung fully formed from a heap of manure, as flies and Popes do—may God have mercy on my soul for saying that!
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
Like a horseman who reins in a wild stallion that has borne him, will he, nill he, across several counties; or a ship's captain who, after scudding before a gale through a bad night, hoists sail, and gets underway once more, navigating through unfamiliar seas- thus Dr. Daniel Waterhouse, anno domini 1685, watching King Charles II die at Whitehall Palace.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
But blasting the drummer into the river, though it would have been easy at this range, was not a good way to be inconspicuous.
Neal Stephenson (The System of the World (The Baroque Cycle, #3))
„Ohne Vergütungen, die weit über das eigentlich Angemessene hinausgehen, wäre der Beruf des Politikers viel zu unerfreulich.
Neal Stephenson (The System of the World (The Baroque Cycle, #3))
Most men would rather be shot through with a broad-headed arrow than be described by you.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
For between true science and erroneous doctrines, ignorance is in the middle. —HOBBES, Leviathan
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
I don’t hold it against you that you turned out Irish, either. I wasn’t there to make Englishmen of you, and so it’s Irish you are, by default.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
The situation could not possibly be as dire as it seemed or they would all be dead.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
Testaceous turbinated exanguious animals—
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
Gomer Bolstrood
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
Godspeed? Godspeed! What kind of a thing is that to say to a fucking galley slave?
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
Jack was finally going mad, and it was a small comfort to know that he’d picked the right city for it.
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
he was like an illiterate savage staring at the first page of an illuminated Bible
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
The Barkers are gratuitously radical, however—for example, they believe that Government and Church should have naught to do with each other, and that all slaves in the world should be set free.
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
The Bourbon-Orléans family tree is infinitely larger, more ramified, and more intertangled than can possibly be shown here, largely owing to the longevity, fertility, and polygamy of Louis XIV.
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
Everything from the brim of this hat to the hem of her dress was too complex for Daniel’s eye to comprehend—he was like an illiterate savage staring at the first page of an illuminated Bible—but
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
Just like many Popish Plotters before them, these had promptly begun to “commit suicide” in the Tower. One had even managed the heroic feat of cutting his own throat all the way to the vertebrae!
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
Natural Philosophy cannot advance without attacking theories that are old, and beating back new ones that are wrong, neither of which may be accomplished without doing some injury to their professors.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
Listen to me. I did not wish to be summoned by your Princess. Summoned, I did not wish to come. But having been summoned, and having come, I mean to give a good account of myself. That’s how I was taught by my father, and the men of his age who slew Kings and swept away not merely Governments but whole Systems of Thought, like Khans of the Mind. I would have my son in Boston know of my doings, and be proud of them, and carry my ways forward to another generation on another continent. Any opponent who does not know this about me, stands at a grave disadvantage; a disadvantage I am not above profiting from.
Neal Stephenson (The System of the World (The Baroque Cycle, #3))
But when you walk through yonder gate,” Churchill said, pointing toward the Middle Tower at the end of the causeway, which was visible only as a crenellated cutout in the orange sky, “you’ll find yourself in a London you no longer know. The changes wrought by the Fire were nothing. In that London, loyalty and allegiance are subtle and fluxional. ’Tis a chessboard with not only black and white pieces, but others as well, in diverse shades. You’re a Bishop, and I’m a Knight, I can tell that much by our shapes, and the changes we have wrought on the board; but by fire-light ’Tis difficult to make out your true shade.
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
This may not however elevate your stature during the years you have remaining; for fame’s a weed, but repute is a slow-growing oak, and all we can do during our lifetimes is hop around like squirrels and plant acorns.
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
What is the moral of your play, Jack?” “Oh, it could be a number of things: stay the hell out of Europe, for example. Or: when the men with swords come, run away! Especially if they’ve got Bibles, too.” “Sound advice.
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
The last year had been an education in how little having money really mattered. A rich Vagabond was a Vagabond still, and ’twas common knowledge that King Charles, during the Interregnum, had lived without money in Holland.
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
The wording does not come naturally in this bastard language of Sabir, but Moseh’s plan was to synergistically leverage the value-added of diverse core competencies into a virtual entity whose whole was more than the sum of its parts…
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
It is satisfying, and after a while he finds himself singing an old song: the same one he sang with Oldenburg in Broad Arrow Tower. He keeps time with his hammer, and draws out those notes that make the cargo-hold resonate. All round him, water seeps through the cracks between Minerva’s hull-planks (for he is well below the water-line) and trickles down merrily into the bilge, and the four-man pumps take it away with a steady suck-and-hiss that’s like the systole and diastole of a beating heart.
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
there was something willfully idiotic in going to an unknown country, ignoring its people, their languages, art, its beasts and butterflies, flowers, herbs, trees, ruins, et cetera, and reducing it all to a few lumps of heavy matter un the center of a dish.
Neal Stephenson (Quicksilver (The Baroque Cycle, Vol. 1, Book 1))
Leibniz raised his eyebrows and spent a few moments staring at the clutter of pots and cups on the table. “This is one of the two great labyrinths into which human minds are drawn: the question of free will versus predestination. You were raised to believe in the latter. You have rejected it—which must have been a great spiritual struggle—and become a thinker. You have adopted a modern, mechanical philosophy. But that very philosophy now seems to be leading you back towards predestination. It is most difficult.
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
The place was empty ‘cause of the Hanging. I didn’t want to stay and—” “And what?” “Get more ahead of the others than I was already.” “If you are ahead, the correct thing is to get used to it—not to make yourself into an imbecile. Come, you belong in school.
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
For most of the day and night, time oppresses me. It is only when I am at work on the innards of a clock-or a lock-that time stops." "The clock stops, you mean." "No. Time stops, or so it seems. I do not sense its passage. Then something interrupts me-I become aware that my bladder is full, my mouth dry, my stomach rumbling, the fire’s gone out, and the sun’s gone down. But there before me on the table is a finished clock-" now suddenly a snicker from the mechanism, and a deft movement of his hands. "Or an opened lock.
Neal Stephenson (The System of the World (The Baroque Cycle, #3))
Like two arms of a snowflake, Mind and Matter grew out of a common center—and even though they grew independently and without communicating—each developing according to its own internal rules—nevertheless they grew in perfect harmony, and share the same shape and structure.
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
If you make certain assumptions about the force of gravity, and how the weight of an object diminishes as it gets farther away, it’s not improbable at all,” Isaac said. “It just happens. You would keep going round and round forever.” “In a circle?” “An ellipse.” “An ellipse…” and here the bomb finally went off in his head, and Daniel had to sit down on the ground, the moisture of last year’s fallen apples soaking through his breeches. “Like a planet.” “Just so—if only we could jump fast enough, or had a strong enough wind at our backs, we could all be planets.
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
Daniel saw in a way he’d never seen anything before: his mind was a homunculus squatting in the middle of his skull, peering out through good but imperfect telescopes and listening horns, gathering observations that had been distorted along the way, as a lens put chromatic aberrations into all the light that passed through it. A man who peered out at the world through a telescope would assume that the aberration was real, that the stars actually looked like that—what false assumptions, then, had natural philosophers been making about the evidence of their senses, until last night? Sitting in the gaudy radiance of those windows hearing the organ play and the choir sing, his mind pleasantly intoxicated from exhaustion, Daniel experienced a faint echo of what it must be like, all the time, to be Isaac Newton: a permanent ongoing epiphany, an endless immersion in lurid radiance, a drowning in light, a ringing of cosmic harmonies in the ears.
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
Crying loudly is childish, in that it reflects a belief, on the cryer’s part, that someone is around to hear the noise, and come a-running to make it all better. Crying in absolute silence, as Daniel does this morning, is the mark of the mature sufferer who no longer nurses, nor is nursed by, any such comfortable delusions.
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
That merely glimpsing three good wooden boxes on a baggage-wain could lead to such broodings made Daniel wonder that he could get out of bed in the morning. Once, he had feared that old age would bring senility; now, he was certain it would slowly paralyze him by encumbering each tiny thing with all sorts of significations.
Neal Stephenson (The System of the World (The Baroque Cycle, #3))
Menopause had finally terminated her fantastically involved and complex relationship with her womb: a legendary saga of irregular bleeding, eleven-month pregnancies straight out of the Royal Society proceedings, terrifying primal omens, miscarriages, heartbreaking epochs of barrenness punctuated by phases of such explosive fertility that Uncle Thomas had been afraid to come near her—disturbing asymmetries, prolapses, relapses, and just plain lapses, hellish cramping fits, mysterious interactions with the Moon and other cœlestial phenomena, shocking imbalances of all four of the humours known to Medicine plus a few known only to Mayflower, seismic rumblings audible from adjoining rooms—cancers reabsorbed—(incredibly) three successful pregnancies culminating in four-day labors that snapped stout bedframes like kindling, vibrated pictures off walls, and sent queues of vicars, mid-wives, physicians, and family members down into their own beds, ruined with exhaustion.
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
He closed his eyes and shook his head. “I am not one of those who believes that God made the world and walked away from it, that He has no further choices to make, no ongoing presence in the world. I believe that He is everywhere, making choices all the time.” “But only because there are certain things you have not explained yet with geometric proofs.
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
Jack could sound them out only through carousing with them over a period of weeks. Jack had long since lost interest in carousing per se, but he recalled how it was done, and could still put on a performance of carousing that looked sincere but was in fact wholly affected, shrewd, and calculating. He was helped in this by his two sons, who really meant it.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
Almost as if it were written down somewhere in the Universal Character, Pepys and Wilkins and Waterhouse somehow knew that they had unfinished business together—that they ought to be having a discreet chat about Mr. Oldenburg. A triangular commerce in highly significant glances and eyebrow-raisings flourished there in the Dogg, for the next hour, among them.
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
Enoch pulled the hood back from his head and said, “What was really magnificent about that entrance, Jack, was that, until the moment you rose up out of the pool all covered in phosphorus, you were invisible—you just seemed to materialize, weapon in hand, with that Dwarf-cap, shouting in a language no one understands. Have you considered a career in the theatre?
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
You have responsibilities now, Bob. You must lose this naïve understanding of violence! You are embarrassin’ me in front of the lads! You can’t play by their rules or they’ll win unfailingly! You don’t engage in courtly play-fightin’ with one such as this. You get a great friggin’ tree-branch and keep hittin’ him with it until he dies. Like that. D’you see, boys?
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
If Admiral Tourville’s invasion-fleet makes it across the Channel without being sunk by the Royal Navy, and if the Papist legion establishes a beachhead on English soil without being destroyed by the Army or torn to bits by an enraged Mobb of English rurals, then I shall personally carry every single one of your coins from the Tower of London to the front in my arse-hole, and Deposit them in some Place where they may be easily Picked Up.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
Mammon led them on, Mammon, the least erected Spirit that fell From heav’n, for ev’n in heav’n his looks and thoughts Were always downward bent, admiring more The riches of Heav’ns pavement, trod’n Gold, Then aught divine or holy else enjoy’d In vision beatific; by him first Men also, and by his suggestion taught, Ransack’d the Center, and with impious hands Rifl’d the bowels of thir mother Earth For Treasures better hid. —MILTON, Paradise Lost
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
Between these efforts he sent the following, loosely connected string of comments and observations Bob’s way: “You have responsibilities now, Bob. You must lose this naïve understanding of violence! You are embarrassin’ me in front of the lads! You can’t play by their rules or they’ll win unfailingly! You don’t engage in courtly play-fightin’ with one such as this. You get a great friggin’ tree-branch and keep hittin’ him with it until he dies. Like that. D’you see, boys?
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
[Enoch Root] hadn't really known what to expect of America. But people here seem to do things—hangings included—with a blunt, blank efficiency that's admirable and disappointing at the same time. Like jumping fish, they go about difficult matters with bloodless ease. As if they were all born knowing things that other people must absorb, along with faery-tales and superstitions, from their families and villages. Maybe it is because most of them came over on ships. (Boston Common, October 12, 1713, 10:33:52 a.m.)
Neal Stephenson (Quicksilver (The Baroque Cycle, #1))
They were planning some sort of real estate development on the edge of the city—probably on that few acres of pasture out back of the Waterhouse residence. They would put up town-houses around the edges, make the center into a square, and along the square Sterling would put up shops. Rich people would move in, and the Waterhouses and their confederates would control a patch of land that would probably generate more rent than any thousand square miles of Ireland—basically, they would become farmers of rich people.
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
Thinking is what angels do—it is a property given to Man by God.” “How do you suppose God gives it to us?” “I do not pretend to know, sir!” “If you take a man’s brain and distill him, can you extract a mysterious essence—the divine presence of God on Earth?” “That is called the Philosophick Mercury by Alchemists.” “Or, if Hooke were to peer into a man’s brain with a good enough microscope, would he see tiny meshings of gears?” Daniel said nothing. Leibniz had imploded his skull. The gears were jammed, the Philosophick Mercury dribbling out his ear-holes.
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
Cambridge was run by a mixture of fogeys too old to be considered dangerous, and Puritans who had been packed into the place by Cromwell after he’d purged all the people he did consider dangerous. With a few exceptions such as Isaac Barrow, none of them would have had any use for Isaac’s sundial, because it didn’t look like an old sundial, and they’d prefer telling time wrong the Classical way to telling it right the newfangled way. The curves that Newton plotted on the wall were a methodical document of their wrongness—a manifesto like Luther’s theses on the church-door.
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
Each breaker, she supposed, was as unique as a human soul. Each made its own run up onto the shore, being the very embodiment of vigor and power at the start. But each slowed, spread thin, faltered, dissolved into a hissing ribbon of gray foam, and got buried under the next. The end result of all their noisy, pounding, repetitious efforts was the beach. Seen through a lens, the particular arrangement of sand-grains that made up the beach presumably was complicated, and reflected the individual contributions of every single wave that had ended its life here; but seen from the level of Eliza’s head it was unspeakably flat,
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
Daniel was slow to take up the cheer. But when he did, he meant it. This was politics. It was ugly, it was irrational, but it was preferable to war. Roger was being cheered because he had won. What did it mean to win? It meant being cheered. So Daniel huzzahed, as lustily as his dry pipes and creaky ribs would permit, and was astounded to see the way people came a-running: not only the Quality from their town-houses, but hooligans and Vagabonds from bonfire-strewn fields to the north, to throng around Roger and cheer him. Not because they agreed with his positions, or even knew who he was, but because he was plainly enough the man of the hour.
Neal Stephenson (The System of the World (The Baroque Cycle, #3))
Is power like the vis viva and the quantite d’avancement? That is, is it conserved by the universe, or is it like shares of a stock, which may have great value one day, and be worthless the next? If power is like stock shares, then it follows that the immense sum thereof lately lost by B[olingbroke] has vanished like shadows in sunlight. For no matter how much wealth is lost in stock crashes, it never seems to turn up, but if power is conserved, then B’s must have gone somewhere. Where is it? Some say ‘twas scooped up by my Lord R, who hid it under a rock, lest my Lord M come from across the sea and snatch it away. My friends among the Whigs say that any power lost by a Tory is infallibly and insensibly distributed among all the people, but no matter how assiduously I search the lower rooms of the clink for B’s lost power, I cannot seem to find any there, which explodes that argument, for there are assuredly very many people in those dark salons. I propose a novel theory of power, which is inspired by . . . the engine for raising water by fire. As a mill makes flour, a loom makes cloth and a forge makes steel, so we are assured this engine shall make power. If the backers of this device speak truly, and I have no reason to deprecate their honesty, it proves that power is not a conserved quantity, for of such quantities, it is never possible to make more. The amount of power in the world, it follows, is ever increasing, and the rate of increase grows ever faster as more of these engines are built. A man who hordes power is therefore like a miser who sits on a heap of coins in a realm where the currency is being continually debased by the production of more coins than the market can bear. So that what was a great fortune, when first he raked it together, insensibly becomes a slag heap, and is found to be devoid of value. When at last he takes it to the marketplace to be spent. Thus my Lord B and his vaunted power hoard what is true of him is likely to be true of his lackeys, particularly his most base and slavish followers such as Mr. Charles White. This varmint has asserted that he owns me. He fancies that to own a man is to have power, yet he has got nothing by claiming to own me, while I who was supposed to be rendered powerless, am now writing for a Grub Street newspaper that is being perused by you, esteemed reader.
Neal Stephenson (The System of the World (The Baroque Cycle, #3))
For every human being who is born into this universe is like a child who has been given a key to an infinite Library, written in cyphers that are more or less obscure, arranged by a scheme—of which we can at first know nothing, other than that there does appear to be some scheme—pervaded by a vapor, a spirit, a fragrance that reminds us that it was the work of our Father. Which does us no good whatever, other than to remind us, when we despair, that there is an underlying logic about it, that was understood once and can be understood again.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
It stands for Best Alternative To a Negotiated Agreement.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
batna,
Neal Stephenson (The Confusion (The Baroque Cycle, #2))