Beautifully Illustrated Quotes

When we see a mountain too hard to climb, God helps us climb it but in His own time.

When we see an obstacle impossible to cross; God makes a path for us if we let Him be boss.

When we see grey clouds and lightning causing a storm; God shows us His rainbow in its most beautiful form.

Why should we place Christ at the top and summit of the human race? Was he kinder, more forgiving, more self-sacrificing than Buddha? Was he wiser, did he meet death with more perfect calmness, than Socrates? Was he more patient, more charitable, than Epictetus? Was he a greater philosopher, a deeper thinker, than Epicurus? In what respect was he the superior of Zoroaster? Was he gentler than Lao-tsze, more universal than Confucius? Were his ideas of human rights and duties superior to those of Zeno? Did he express grander truths than Cicero? Was his mind subtler than Spinoza’s? Was his brain equal to Kepler’s or Newton’s? Was he grander in death – a sublimer martyr than Bruno? Was he in intelligence, in the force and beauty of expression, in breadth and scope of thought, in wealth of illustration, in aptness of comparison, in knowledge of the human brain and heart, of all passions, hopes and fears, the equal of Shakespeare, the greatest of the human race?

There were only the great diamonds and sapphires and emerald mists and velvet inks of space, with God's voice mingling among the crystal fires.

At the end of his life, the great picture book author and illustrator Maurice Sendak said on the NPR show Fresh Air, 'I cry a lot because I miss people. I cry a lot because they die, and I can't stop them. They leave me, and I love them more.' He said, 'I'm finding out as I'm aging that I'm in love with the world.' It has taken me all my life up to now to fall in love with the world, but I've started to feel it the last couple of years. To fall in love with the world isn't to ignore or overlook suffering, both human and otherwise. For me anyway, to fall in love with the world is to look up at the night sky and feel your mind swim before the beauty and the distance of the stars. It is to hold your children while they cry, to watch as the sycamore trees leaf out in June. When my breastbone starts to hurt, and my throat tightens, and tears well in my eyes, I want to look away from the feeling. I want to deflect with irony, or anything else that will keep me from feeling directly. We all know how loving ends. But I want to fall in love with the world anyway, to let it crack me open. I want to feel what there is to feel while I am here.

Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there are hope.

You've got to give kids really beautiful children's books in order to turn them into revolutionaries. Because if they see these beautiful things when they're young, when they grow up they'll see the real world and say, 'Why is the world so ugly?! I remember when the world was beautiful.' And then they'll fight, and they'll have a revolution. They'll fight against all of our corruption in the world, they'll fight to try to make the world more beautiful. That's the job of a good children's book illustrator.

Code is not like other how-computers-work books. It doesn't have big color illustrations of disk drives with arrows showing how the data sweeps into the computer. Code has no drawings of trains carrying a cargo of zeros and ones. Metaphors and similes are wonderful literary devices but they do nothing but obscure the beauty of technology.

to hurt the weak and the helpless; but what stuck in my mind was this, he said that cruelty was the devil's own trade-mark, and if

The odors of perfume were fanned out on the summer air by the whirling vents of the grottoes where the women hid like undersea creatures, under electric cones, their hair curled into wild whorls and peaks, their eyes shrewd and glassy, animal and sly, their mouths painted a neon red.

. . . children should draw [a husband & wife] nearer than ever, not separate you, as if they were all yours, and [your husband] had nothing to do but support them. . . . don't neglect husaband for children, don't shut him out of the nursery, but teach him how to help in it. His place is there as well as yours, and the children need him; let him feel that he has his part to do, and he will do it gladly and faithfully, and it will be better for you all. . . . That is the secret of our home happiness: he does not let business wean him from the little cares and duties that affect us all, and I try not to let domestic worries destroy my interest in his pursuits. Each do our part alone in many things, but at home we work together, always. . . . no time is so beautiful and precious to parents as the first years of the little lives given them to train. Don't let [your husband] be a stranger to the babies, for they will do more to keep him safe and happy in this world of trial and temptation than anything else, and through them you will learn to know and love one another as you should.

Please. Put the gun down and we'll talk. A beautiful woman holding a small cannon plays hell with my concentration. Christovao (Chris) Santos, Sanctuary

The beginning of a novel: start a subject, no matter where, and to have the desire to finish, start with very beautiful phrases.

Because sometimes the Church seems like those posed circus tableaus where the curtain lifts and men, white, zinc-oxide, talcum-powder statues, freeze to represent abstract Beauty. Very wonderful. But I hope there will always be room for me to dart about among the statues, don't you, Father Stone?

I saw that every flower He has created has a beauty of its own, that the splendor of the rose and the lily’s whiteness do not deprive the violet of its scent nor make less ravishing the daisy’s charm. I saw that if every little flower wished to be a rose, Nature would lose her spring adornments, and the fields would be no longer enameled with their varied flowers.

Certainly a liberal education does manifest itself in a courtesy, propriety, and polish of word and action, which is beautiful in itself, and acceptable to others; but it does much more. It brings the mind into form,—for the mind is like the body.

She wanted to be someone’s muse—to be worshipped and adored, body and soul. She wanted to play Beatrice to a dashing and noble Dante and to inhabit Paradise with him forever. And to live a life that would rival the beauty of Botticelli’s illustrations.

He is some brainless beautiful creature who should be always here in winter when we have no flowers to look at, and always here in summer when we want something to chill our intelligence.

And as much as I’d like to believe there’s a truth beyond illusion, I’ve come to believe that there’s no truth beyond illusion. Because, between ‘reality’ on the one hand, and the point where the mind strikes reality, there’s a middle zone, a rainbow edge where beauty comes into being, where two very different surfaces mingle and blur to provide what life does not: and this is the space where all art exists, and all magic.And—I would argue as well—all love. Or, perhaps more accurately, this middle zone illustrates the fundamental discrepancy of love. Viewed close: a freckled hand against a black coat, an origami frog tipped over on its side. Step away, and the illusion snaps in again: life-more-than-life, never-dying

Why do we like these stories so? Why do we tell them over and over? Why have we made a folk hero of a man who is the antithesis of all our official heroes, a haunted millionaire out of the West, trailing a legend of desperation and power and white sneakers? But then we have always done that. Our favorite people and our favorite stories become so not by any inherent virtue, but because they illustrate something deep in the grain, something unadmitted. Shoeless Joe Jackson, Warren Gamaliel Harding, The Titanic: how the might are fallen. Charles Lindbergh, Scott and Zelda Fitzgerald, Marilyn Monroe: the beautiful and damned. And Howard Hughes. That we have made a hero of Howard Hughes tells us something interesting about ourselves, something only dimly remembered, tells us that the secret point of money and power in AMerica is neither the things that money can buy nor power for power's sake (Americans are uneasy with their possessions, guilty about power, all of which is difficult for Europeans to perceive because they are themselves so truly materialistic, so versed in the uses of power), but absolute personal freedom, mobility, privacy. Is is the instinct which drove America to the Pacific, all through the nineteenth century, the desire to be able to find a restaurant open in case you want a sandwich, to be a free agent, live by one's own rules.

if you want to meet a beautiful home that is just right for you, take good care of the one you live in now.

As she drove the Trace, each curve revealing a scene rich with life and as picturesque as illustrations from a children's book, Anna was struck again by the beauty of the state. Over her years as a Yankee and a Westerner, she'd heard Mississippi described many ways. Beautiful had never been one of them.

This is beautifully illustrated in one of Donald Winnicott’s images: the mother gazes at the baby in her arms, and the baby gazes at his mother’s face and finds himself therein . . . provided that the mother is really looking at the unique, small, helpless being and not projecting her own expectations, fears, and plans for the child. In that case, the child would find not himself in his mother’s face, but rather the mother’s own projections. This child would remain without a mirror, and for the rest of his life would be seeking this mirror in vain.

Abstract Art is considered as one of the pious forms in expressing one-self without any detailed illustration of reality. It uses a perceptible language such as shapes, color, line, form and gestural marks to create a beauty which may persist with a degree of freedom from visual references in the world.

Not about mean old nasty Mars, I tell you, mister! It’s your type that is going to boil for years, and suffer and break out in black pimples and be tortured——” “I must admit Earth isn’t very nice. You’ve described it beautifully.

Not about mean old nasty Mars, I tell you, mister! It’s your type that is going to boil for years, and suffer and break out in black pimples and be tortured——” “I must admit Earth isn’t very nice. You’ve described it beautifully.

Consider this simple thought. The Lord could have made everything brown. Brown grass, brown flowers, brown sky, brown sea. But He didn't. There is much for us to enjoy in the variety and the beauty of His creation. These things illustrate His essential goodness. God is good. His goodness is seen in all His works.

The sagebrush is so short in some places that it is not large enough to make a fire, so we had to drive until quite late before we camped that night. After driving all day over what seemed a level desert of sand, we came about sundown to a beautiful cañon, down which we had to drive for a couple of miles before we could cross. In the cañon the shadows had already fallen, but when we looked up we could see the last shafts of sunlight on the tops of the great bare buttes. Suddenly a great wolf started from somewhere and galloped along the edge of the cañon, outlined black and clear by the setting sun. His curiosity overcame him at last, so he sat down and waited to see what manner of beast we were. I reckon he was disappointed for he howled most dismally. I thought of Jack London's "The Wolf.

When the bald associate had mentioned a sleeping beauty, he was referring to a fairy tale that you have probably heard one thousand times. Like all fairy tales, the story of Sleeping Beauty begins with 'Once upon a time,' and continues with a foolish young princess who makes a witch very angry, and then takes a nap until her boyfriend wakes her up with a kiss and insists on getting married, at which point the story ends with the phrase 'happily ever after.' The story is usually illustrated with fancy drawings of the napping princess, who always looks very glamorous and elegant, with her hair neatly combed and a long silk gown keeping her comfortable as she snores away for years and years.

In time, Arjuna tires of mere beauty and hearing tales about the valour of princess Chitrangada, he seeks her out. The princess then reveals her true self to Arjuna. Her words are one of the most beautiful declarations of the angst of a woman, ‘I am not beautifully perfect as the flowers with which I worship. I have many flaws and blemishes. I am a traveller in the great world-path, my garments are dirty, and my feet are bleeding with thorns. Where should I achieve flower-beauty, the unsullied loveliness of a moment’s life? The gift that I proudly bring you is the heart of a woman. Here have all pains and joys gathered, the hopes and fears and shames of a daughter of the dust; here love springs up struggling towards immortal life. Herein lies an imperfection which yet is noble and grand.

She began to see that character is a better possession than money, rank, intellect, or beauty; and to feel that if greatness is what a wise man has defined it to be,

ineffable beauty

Welcome Beauty, banish fear, You are queen and mistress here. Speak your wishes, speak your will, Swift obedience meets them still.

I will tell you why; so shall my anticipation Prevent your discovery, and your secrecy to the king And queen moult no feather. I have of late--but Wherefore I know not--lost all my mirth, forgone all Custom of exercises; and indeed it goes so heavily With my disposition that this goodly frame, the Earth, seems to me a sterile promontory, this most Excellent canopy, the air, look you, this brave O'erhanging firmament, this majestical roof fretted With golden fire, why, it appears no other thing to Me than a foul and pestilent congregation of vapours. What a piece of work is a man! how noble in reason! How infinite in faculty! in form and moving how Express and admirable! in action how like an angel! In apprehension how like a god! the beauty of the World! the paragon of animals! And yet, to me, What is this quintessence of dust? man delights not Me: no, nor woman neither, though by your smiling You seem to say so.

All the mystery and wisdom of the Masters, when it’s out in the daylight, doesn’t amount to so much, you know. Tricks of the trade—wonderful illusions. But people don’t want to know that. They want the illusions, the mysteries. Who can blame them? There’s so little in life that’s beautiful or worthy.

If ze zhentlemans will to me make ze grande honneur to me rattain in hees serveece, I shall show to him every sing zat is magnifique to look upon in ze beautiful Parree. I speaky ze Angleesh pairfaitemaw.

What we look at determines what we see, and what we see, really see, becomes part of an inner museum of pictures and references, a mental collection that for most of us is not so much curated as acquired in a haphazard way. There is an opportunity with children to show them art and illustration that will furnish their minds with beauty and mystery, symmetry and wonder. The simplest mechanism for this is the selection of picture books that we share with them.

Having spent most of my life looking at things of every description, including those in my clients’ homes, I have discovered three common elements involved in attraction: the actual beauty of the object itself (innate attraction), the amount of love that has been poured into it (acquired attraction), and the amount of history or significance it has accrued (experiential value).

I first read The Lord of the Rings and The Hobbit when I was eighteen. It felt as though the author had taken every element I'd ever want in a story and woven them into one huge, seamless narrative; but more important, for me, Tolkien had created a place, a vast, beautiful, awesome landscape, which remained a resource long after the protagonists had finished their battles and gone their separate ways. In illustrating The Lord of the Rings I allowed the landscapes to predominate. In some of the scenes the characters are so small they are barely discernible. This suited my own inclinations and my wish to avoid, as much as possible, interfering with the pictures being built up in the reader's mind, which tends to be more closely focussed on characters and their inter-relationships. I felt my task lay in shadowing the heroes on their epic quest, often at a distance, closing in on them at times of heightened emotion but avoiding trying to re-create the dramatic highpoints of the text. With The Hobbit, however, it didn't seem appropriate to keep such a distance, particularly from the hero himself. I don't think I've ever seen a drawing of a Hobbit which quite convinced me, and I don't know whether I've gotten any closer myself with my depictions of Bilbo. I'm fairly happy with the picture of him standing outside Bag End, before Gandalf arrives and turns his world upside-down, but I've come to the conclusion that one of the reasons Hobbits are so quiet and elusive is to avoid the prying eyes of illustrators.

And now the great loose brain was disintegrating. The components of the brain which had worked so beautifully and efficiently in the skull case of the rocket ship firing through space were dying one by one; the meaning of their life together was falling apart. And as a body dies when the brain ceases functioning, so the spirit of the ship and their long time together and what they meant to one another was dying.

There were fireworks the very first night, things that you should be afraid of perhaps, for they might remind you of other more horrible things, but these were beautiful, rockets that ascended into the ancient soft air of Mexico and shook the stars apart in blue and white fragments.

Knowing that you have a soul bright and clear like the sun, perceiving and feeling that soul, you will realize that it is very precious and beautiful. When you consider yourself important and precious, you will begin to feel the same way toward other forms of life and toward the world.

The sight of her had pierced him, making her the enterer, had she but known it, and him the entered. Perhaps she had known, on reflection. Perhaps she’d fled from his passivity, from his ease beneath the spike of her beauty. If so, he would undo her revulsion with tonight’s business. Here,

What is Destiny? Is it a doctrine formulated by aristocrats and philosophers arguing that there is some unseen driving force predicting the outcomes of every minuscule and life altering moment in one's life? Or is it the artistry illustrated by those under-qualifed and over-eager to give their future meaning and their ambitions hope? Is it a declaration by those who refuse to accept that we are alone in this universe, spinning randomly through a matrix of accidental coincidences? Or is it the assumptions made by those who concede that there is a divine plan or pre-ordained path for each human being,regardless of their current station? I think destiny is a bit of a tease.... It's syndical taunts and teases mock those naive enough to believe in its black jack dealing of inevitable futures. Its evolution from puppy dogs and ice cream to razor blades and broken mirrors characterizes the fickle nature of its sordid underbelly. Those relying on its decisive measures will fracture under its harsh rules. Those embracing the fact that life happens at a million miles a minute will flourish in its random grace. Destiny has afforded me the most magical memories and unbelievably tragic experiences that have molded and shaped my life into what it is today...beautiful. I fully accept the mirage that destiny promises and the reality it can produce. Without the invisible momentum carried with its sincere fabrication of coming attraction, destiny is the covenant we rely on to get ourselves through the day. To the destiny I know awaits me, I thank you in advance. Don't cry because it's over....smile because it happened.

Back at two o'clock in the Roi George corridor the beauty of Nicole had been the beauty of Rosemary as the beauty of Leonardo's girl was to that of the girl of an illustrator. Dick moved on through the rain, demoniac and frightened, the passions of many men inside him and nothing simple that he could see.

When I received my glossy black invitation in the mail a few days later, I could feel my heart swell with excitement. “Hef’s Midsummer Night’s Dream Party,” it read. On the front was a beautiful pinup illustration by famed artist Olivia De Berardinis and inside was a small piece of paper with directions. It was like Cinderella finally scoring an invitation to the ball—except instead of arriving by horse-drawn carriage, we would board a shuttle at a UCLA parking garage.

So always avoid banality. That is, avoid illustrating the author's words and remarks. If you want to create a true masterpiece you must always avoid beautiful lies: the truths on the calender under each date you find a proverb or saying such as: "He who is good to others will be happy." But this is not true. It is a lie. The spectator, perhaps, is content. The spectator likes easy truths. But we are not there to please or pander to the spectator. We are here to tell the truth.

At the bottom of the box were two big fairy-tale collections our father had sent us sometime after our parents divorced in 1963. I was four and my sister was five. We never saw him again. One book was a beautifully illustrated collection of Russian fairy tales inscribed, "To Rachel, from Daddy." The other, a book of Japanese fables, was inscribed to me. It had been years since I had opened them. I stared at the handwriting. Something seemed a bit off. Then it dawned on me - both inscriptions bore my own adolescent scrawl. I had always remembered the books and our father's dedications as proof of his love for us. Yet, how malleable our memories are, even if our brains are intact. Neuroscientists now suggest that while the core meaning of a long-term memory remains, the memory transforms each time we attempt to retrieve it. In fact, anatomical changes occur in the brain every single time we remember. As Proust said, "The only paradise is paradise lost.

The Otherworld does not supply the meaning of life. Rather, the Otherworld describes being alive. Life, in all its glory - warts and all, so to speak. The Otherworld provides meaning by example, by exhibition, by illustration if you will. ... Through the Otherworld we learn what it is be be alive, to be human: good and evil, heartbreak and ecstasy, victory and defeat, everything. ... where does one first learn loyalty? Or honor? Or any higher value, for that matter? ... Where does one learn to value the beauty of a forest and to revere it?' In nature?' Not at all. This can easily be proven by the fact that so many among us do not revere the forests at all - do not even see them, in fact. You know the people I am talking about. You have seen them and their works in the world. They are the ones who rape the land, who cut down forests and despoil oceans, who oppress the poor and tyrannize the helpless, who live their lives as if nothing lay beyond the horizon of their own limited earth-bound visions. But I digress. The question before us is this: where does one first learn to see a forest as a thing of beauty, to honor it, to hold it dear for its own sake, to recognize its true value as a forest, and not just see it as a source of timber to be exploited, or a barrier to be hacked down in order to make room for a motorway? ... the mere presence of the Otherworld kindles in us the spark of higher consciousness, or imagination. It is the stories and tale and visions of the Otherworld - that magical, enchanted land just beyond the walls of the manifest world - which awaken and expand in human beings the very notion of beauty, of reverence, of love and nobility, and all the higher virtues.

It seemed as if we were driving through a golden haze. The violet shadows were creeping up between the hills, while away back of us the snow-capped peaks were catching the sun's last rays. On every side of us stretched the poor, hopeless desert, the sage, grim and determined to live in spite of starvation, and the great, bare, desolate buttes. The beautiful colors turned to amber and rose, and then to the general tone, dull gray. Then we stopped to camp, and such a scurrying around to gather brush for the fire and to get supper! Everything tasted so good! Jerrine ate like a man. Then we raised the wagon tongue and spread the wagon sheet over it and made a bedroom for us women.

except by a reviewer who may quote brief passages or reproduce illustrations in a review with appropriate

The fountain of beauty is the heart, and every generous thought illustrates the walls of your chamber.

We had heard a world of talk about the marvellous beauty of Lake Tahoe, and finally curiosity drove us thither to see it.

It was too beautiful a night to sleep, so I put my head out to look and to think. I saw the moon come up and hang for a while over the mountain as if it were discouraged with the prospect, and the big white stars flirted shamelessly with the hills. I saw a coyote come trotting along and I felt sorry for him, having to hunt food in so barren a place, but when presently I heard the whirr of wings I felt sorry for the sage chickens he had disturbed. At length a cloud came up and I went to sleep, and next morning was covered several inches with snow.

And as much as I’d like to believe there’s a truth beyond illusion, I’ve come to believe that there’s no truth beyond illusion. Because, between ‘reality’ on the one hand, and the point where the mind strikes reality, there’s a middle zone, a rainbow edge where beauty comes into being, where two very different surfaces mingle and blur to provide what life does not: and this is the space where all art exists, and all magic. And—I would argue as well—all love. Or, perhaps more accurately, this middle zone illustrates the fundamental discrepancy of love.

Jesus illustrated the principle of wu-wei beautifully in his Nature Sermon. The wild birds neither sow nor reap nor gather into barns, yet they are fed; the lilies of the field neither toil nor spin, yet they are clothed. Wu-wei is not about being lazy and doing nothing. Rather, it is about following the way of nature and not wasting energy. It is about the beauty of "letting it be"!

Naomi Wolfe, journalist and author of The Beauty Myth, writes, “A culture fixated on female thinness is not an obsession about female beauty but an obsession about female obedience. Dieting is the most potent political sedative in history. A quietly mad population is a tractable one.”31 Wolfe strategically illustrates how body-shame social messaging is used as a means of controlling and centralizing political power. We need look no further than the 2016 U.S. presidential election to see Wolfe’s thesis in action. Candidate Hillary Clinton was exhaustingly scrutinized about her aesthetic presentation. Outfits, makeup, hairstyles were all fodder for the twenty-four-hour news cycle. Even the pro-Hillary, hundred-thousand-plus-member Facebook group Pantsuit Nation chose her penchant for eschewing skirts and dresses as the name of their collective, inadvertently directing public focus to her physical appearance rather than her decades of political experience.

For every social ill the panacea of Wealth has been urged,—wealth to overthrow the remains of the slave feudalism; wealth to raise the "cracker" Third Estate; wealth to employ the black serfs, and the prospect of wealth to keep them working; wealth as the end and aim of politics, and as the legal tender for law and order; and, finally, instead of Truth, Beauty, and Goodness, wealth as the ideal of the Public School.

Two monks were once travelling together down a wet and muddy road. The rain was torrential, making it almost impossible to walk along the path. As the two men were trudging along, a beautiful girl dressed in silk appeared. She was unable to cross the path and looked distressed. “Let me help you”, said the older monk. He picked her up and carried her over the mud. His younger male companion did not utter a word that night until they reached their lodging temple. Then after hours of restrained conversation, the younger monk exclaimed: “We monks do not touch females; it is too tempting for us and can create a bad outcome”. The older monk looked into the younger monks eyes and said, “I left the girl on the road. Are you still carrying her?” This ancient Zen story illustrates beautifully how so many of us are trapped in the habit of constantly “re-living” the past in our minds, thus dishonouring the present moment. The young monk wasted hours distressing himself with judgment, speculation, anxiety, resentment and ultimately self-perpetuated unhappiness as a direct result of not being mindful.

My wife and I had called on Miss Stein, and she and the friend who lived with her had been very cordial and friendly and we had loved the big studio with the great paintings. I t was like one of the best rooms in the finest museum except there was a big fireplace and it was warm and comfortable and they gave you good things to eat and tea and natural distilled liqueurs made from purple plums, yellow plums or wild raspberries. Miss Stein was very big but not tall and was heavily built like a peasant woman. She had beautiful eyes and a strong German-Jewish face that also could have been Friulano and she reminded me of a northern I talian peasant woman with her clothes, her mobile face and her lovely, thick, alive immigrant hair which she wore put up in the same way she had probably worn it in college. She talked all the time and at first it was about people and places. Her companion had a very pleasant voice, was small, very dark, with her hair cut like Joan of Arc in the Boutet de Monvel illustrations and had a very hooked nose. She was working on a piece of needlepoint when we first met them and she worked on this and saw to the food and drink and talked to my wife. She made one conversation and listened to two and often interrupted the one she was not making. Afterwards she explained to me that she always talked to the wives. The wives, my wife and I felt, were tolerated. But we liked Miss Stein and her friend, although the friend was frightening. The paintings and the cakes and the eau-de-vie were truly wonderful. They seemed to like us too and treated us as though we were very good, well-mannered and promising children and I felt that they forgave us for being in love and being married - time would fix that - and when my wife invited them to tea, they accepted.

I saw exactly one picture of Marx and one of Lenin in my whole stay, but it's been a long time since ideology had anything to do with it. Not without cunning, Fat Man and Little Boy gradually mutated the whole state belief system into a debased form of Confucianism, in which traditional ancestor worship and respect for order become blended with extreme nationalism and xenophobia. Near the southernmost city of Kaesong, captured by the North in 1951, I was taken to see the beautifully preserved tombs of King and Queen Kongmin. Their significance in F.M.-L.B. cosmology is that they reigned over a then unified Korea in the 14th century, and that they were Confucian and dynastic and left many lavish memorials to themselves. The tombs are built on one hillside, and legend has it that the king sent one of his courtiers to pick the site. Second-guessing his underling, he then climbed the opposite hill. He gave instructions that if the chosen site did not please him he would wave his white handkerchief. On this signal, the courtier was to be slain. The king actually found that the site was ideal. But it was a warm day and he forgetfully mopped his brow with the white handkerchief. On coming downhill he was confronted with the courtier's fresh cadaver and exclaimed, 'Oh dear.' And ever since, my escorts told me, the opposite peak has been known as 'Oh Dear Hill.' I thought this was a perfect illustration of the caprice and cruelty of absolute leadership, and began to phrase a little pun about Kim Jong Il being the 'Oh Dear Leader,' but it died on my lips.

Quomodocunquize (v.) To make money in any way possible. A number of the odd and fantastic words in the OED seem to have been either first used or popularized by Sir Thomas Urquhart. When reading the citation of his that the OED uses to illustrate this word, it is hard for me to understand why we do not commonly use more of his favorite words. Even if you have no real idea what his meaning is, the sentiment is unmistakable and beautifully indelible: “Those quomodocunquizing clusterfists and rapacious varlets.

Trunga Rinpoche told this story about how he once was sitting in a garden with Dilgo Khyentse Rinpoche, one of his most important teachers. They were just sitting enjoying their time together in the beautiful setting, hardly saying anything, simply happy to be there with each other. Then Khyentse Rinpoche pointed and said, "They call that a 'tree'," and both of them roared with laughter. For me this is a wonderful illustration of the freedom and enjoyment that await us when we stop being fooled by our labels.

At the end of his life, the great picture book author and illustrator Maurice Sendak said on the NPR show Fresh Air, “I cry a lot because I miss people. I cry a lot because they die, and I can’t stop them. They leave me, and I love them more.” He said, “I’m finding out as I’m aging that I’m in love with the world.” It has taken me all my life up to now to fall in love with the world, but I’ve started to feel it the last couple of years. To fall in love with the world isn’t to ignore or overlook suffering, both human and otherwise. For me anyway, to fall in love with the world is to look up at the night sky and feel your mind swim before the beauty and the distance of the stars. It is to hold your children while they cry, to watch as the sycamore trees leaf out in June. When my breastbone starts to hurt, and my throat tightens, and tears well in my eyes, I want to look away from feeling. I want to deflect with irony, or anything else that will keep me from feeling directly. We all know how loving ends. But I want to fall in love with the world anyway, to let it crack me open. I want to feel what there is to feel while I am here. Sendak ended that interview with the last words he ever said in public: “Live your life. Live your life. Live your life.” Here is my attempt to do so.

My course of study was philosophy. I remembered that it was my uncle, […] who, without invoking a single proper name, had first revealed to me philosophy’s beautiful perplexities. One of the after-dinner oranges was his aid in initiating me into Berkeley’s idealism; a chessboard was enough to illustrate the paradoxes of the Eleatics. Years later, he was to lend me Hinton’s treatises which attempt to demonstrate the reality of four-dimensional space and which the reader is meant to imagine by means of complicated exercises with mutlicoloured cubes.

In my opinion, defining intelligence is much like defining beauty, and I don’t mean that it’s in the eye of the beholder. To illustrate, let’s say that you are the only beholder, and your word is final. Would you be able to choose the 1000 most beautiful women in the country? And if that sounds impossible, consider this: Say you’re now looking at your picks. Could you compare them to each other and say which one is more beautiful? For example, who is more beautiful— Katie Holmes or Angelina Jolie? How about Angelina Jolie or Catherine Zeta-Jones? I think intelligence is like this. So many factors are involved that attempts to measure it are useless. Not that IQ tests are useless. Far from it. Good tests work: They measure a variety of mental abilities, and the best tests do it well. But they don’t measure intelligence itself.

But if racism is pictured as parents asserting their rights as taxpayers & questioning whether the Brown decision applies to "their schools"; if it is shown in calls for more "law & order" & "fiscal responsibility"; if it is demonstrated in the lack of public will to address differentials in resources & services in schools, streets, policing & housing; if it is revealed in the kinds of issues the news media chooses not to cover; if it is illustrated in who stays silent when inequality is brought to light--then it raises questions about where we are today.

Maybe (Taoist story) A classic ancient story illustrates the importance of equanimity and emotional resilience beautifully. Once upon a time, there was a wise old farmer who had worked on the land for over 40 years. One morning, while walking to his stable, he noticed that his horse had run away. His neighbours came to visit and sympathetically said to the farmer, “Such bad luck”. “Maybe,” the farmer replied. The following morning, however, the horse returned, bringing with it three other wild horses. “Such good luck,” the neighbours exclaimed. “Maybe,” the farmer replied. The following afternoon, his son tried to ride one of the untamed horses and was thrown off, causing him to break his leg. The neighbours came to visit and tried to show sympathy and said to the farmer, “how unfortunate”. “Maybe,” answered the farmer. The following morning military officials came to the farmer’s village to draft young men into the army to fight in a new war. Observing that the farmer’s son’s leg was broken, they did not draft him into the war. The neighbours congratulated him on his good luck and the farmer calmly replied, “Maybe”.

You've never seen my legs, Marcus. You don't know what you're talking about. And coming from a man who takes his pick of the most beautiful women in London as if he were sampling from a tin of bonbons-" "Are you implying that I'm some shallow fool who values a woman only for her appearance?" Aline was tempted to retract her charge in the interest of maintaining peace between them. But as she considered the last few women that Marcus had carried on with... "I'm sorry to say, Marcus, that each of your recent choice of companions- the last four or five, at least- displayed all the intelligence of a turnip. And yes, they were all quite beautiful, and I doubt that you were able to to have a sensible conversation with any of them for longer than five minutes." Marcus stood back and glared at her. "How does that pertain to what we were discussing?" "It illustrates the point that even you, one of the finest and most honorable men I've ever known, place great importance on physical attractiveness. And if I ever see you consort with a woman who is less than stunningly perfect, then perhaps I'll listen to your lectures on how appearance doesn't matter.

Peace be to you; fear not.” As he said this, both father and son fell upon the ground on their faces, for suddenly the human form of Azarias was transfigured into that of an Archangel of light and beauty, and the final revelation came: “I am the Angel Raphael, one of the seven, who stand before the Lord

George thrust into Alma's hand a lithograph of a spotted 'Catasetum.' The orchid had been rendered so magnificently that it seemed to grow off the page. Its lips were spotted red against yellow, and appeared moist, like living flesh. Its leaves were lush and thick, and its bulbous roots looked as though one could shake actual soil off them. Before Alma could thoroughly take in the beauty, George handed her another stunning print- a 'Peristeria barkeri,' with its tumbling golden blossoms so fresh they nearly trembled. Whoever had tinted this lithograph had been a master of texture as well as color; the petals resembled unshorn velvet, and touches of albumen on their tips gave each blossom a hint of dew. Then George handed her another print, and Alma could not help but gasp. Whatever this orchid was, Alma had never seen it before. Its tiny pink lobes looked like something a fairy would don for a fancy dress ball.

The course of the Rhine below Mainz becomes much more picturesque. The river descends rapidly and winds between hills, not high, but steep, and of beautiful forms. We saw many ruined castles standing on the edges of precipices, surrounded by black woods, high and inaccessible. This part of the Rhine, indeed, presents a singularly variegated landscape. In one spot you view rugged hills, ruined castles overlooking tremendous precipices, with the dark Rhine rushing beneath; and on the sudden turn of a promontory, flourishing vineyards with green sloping banks and a meandering river and populous towns occupy the scene.

They were, of the unknown and potential happiness of life, an illustration so delicious and in so perfect a state that it was almost for intellectual reasons that I was desperate with the fear that I might not be able to make, in unique conditions which left no room for any possibility of error, proper trial of what is the most mysterious thing that is offered to us by the beauty which we desire and console ourselves for never possessing, by demanding pleasure—as Swann had always refused to do before Odette’s day—from women whom we have not desired, so that, indeed, we die without having ever known what that other pleasure was.

Horse Frightened by a Lion depicts a majestic stallion in a very different situation. Stubbs painted this magnetic masterpiece to illustrate the nature of the sublime, which was one of his era's most popular philosophical concepts,and its relation to a timelessly riveting feeling: fear. The magnificent horse galloping through a vast wilderness encounters the bottom-up stimulus of a crouching predator and responds with a dramatic display of what psychologists mildly call "negative emotion." The equine superstar's arched neck, dilated eyes, and flared nostrils are in fact the very picture of overwhelming dread. The painting's subject matter reflects he philosopher Edmund Burke's widely circulated Philosophical Enquiry into the Origins of Our Ideas of the Sublime and Beautiful, which asserts that because "terror" is unparalleled in commanding "astonishment," or total, single-pointed,--indeed, rapt--attention, it is "the ruling principle of the sublime.

Just beyond the opening the cave was higher, and as the boat floated into the dim interior they found themselves on quite an extensive branch of the sea. For a time neither of them spoke and only the soft lapping of the water against the sides of the boat was heard. A beautiful sight met the eyes of the two adventurers and held them dumb with wonder and delight. It was not dark in this vast cave, yet the light seemed to come from underneath the water, which all around them glowed with an exquisite sapphire color. Where the little waves crept up the sides of the rocks they shone like brilliant jewels, and every drop of spray seemed a gem fit to deck a queen.

Let me illustrate. This morning I had a fresh mango for breakfast: a large, beautiful, fragrant one which had been allowed to ripen until just the right moment, when the skin was luminous with reds and oranges. You can see from that kind of description that I like mangoes. I must have eaten thousands of them when I was growing up, and I probably know most varieties intimately by their color, shape, flavor, fragrance, and feel. Sankhya would say that this mango I appreciated so much does not exist in the world outside – at least, not with the qualities I ascribed to it. The mango-in-itself, for example, is not red and orange; these are categories of a nervous system that can deal only with a narrow range of radiant energy. My dog Bogart would not see a luscious red and orange mango. He would see some gray mass with no distinguishing features, much less interesting to him than a piece of buttered toast. But my mind takes in messages from five senses and fits them into a precise mango-form in consciousness, and that form – nothing outside – is what I experience. Not that there is no “real” mango! But what I experience, the objects of my sense perception and my “knowing,” are in consciousness, nowhere else. A brilliant neuroscientist I was reading recently says something similar in contemporary language: we never really encounter the world; all we experience is our own nervous system.

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I write about you too. What it is like inside you.” He took in a shaky breath and then asked, “Can I see them?” Merrick nodded. He reached for his notebook before leaning back against Cas again. He thumbed through the pages, and Cassius saw his face, his smile, his eyes, his prick, and his buttocks. “They are…they’re beautiful. I can hardly believe they’re me.” “Why?” Merrick asked. “You are beautiful.” He couldn’t believe it because they were drawn by Prince Merrick’s hand with such care…such affection, that it stole his breath. When Cas didn’t reply, Merrick continued, “What if we could do it together? I could draw illustrations and you could write the stories. We could spend eternity that way.” “It is a nice dream,” he replied, because that was all it could be

One great distinction, I appeared to myself to see plainly between even the characteristic faults of our elder poets, and the false beauty of the moderns. In the former, from Donne to Cowley, we find the most fantastic out-of-the-way thoughts, but in the most pure and genuine mother English, in the latter the most obvious thoughts, in language the most fantastic and arbitrary. Our faulty elder poets sacrificed the passion and passionate flow of poetry to the subtleties of intellect and to the stars of wit; the moderns to the glare and glitter of a perpetual, yet broken and heterogeneous imagery, or rather to an amphibious something, made up, half of image, and half of abstract meaning. The one sacrificed the heart to the head; the other both heart and head to point and drapery.

An old Buddhist parable illustrates the challenge—and the value—of letting go of the past. Two monks were strolling by a stream on their way home to the monastery. They were startled by the sound of a young woman in a bridal gown, sitting by the stream, crying softly. Tears rolled down her cheeks as she gazed across the water. She needed to cross to get to her wedding, but she was fearful that doing so might ruin her beautiful handmade gown. In this particular sect, monks were prohibited from touching women. But one monk was filled with compassion for the bride. Ignoring the sanction, he hoisted the woman on his shoulders and carried her across the stream—assisting her journey and saving her gown. She smiled and bowed with gratitude as the monk splashed his way back across the stream to rejoin his companion. The second monk was livid. ‘How could you do that?’ he scolded. ‘You know we are forbidden to touch a woman, much less pick one up and carry her around!’ The offending monk listened in silence to a stern lecture that lasted all the way back to the monastery. His mind wandered as he felt the warm sunshine and listened to the singing birds. After returning to the monastery, he fell asleep for a few hours. He was jostled and awakened in the middle of the night by his fellow monk. ‘How could you carry that woman?’ his agitated friend cried out. ‘Someone else could have helped her across the stream. You were a bad monk.’ ‘What woman?’ the sleepy monk inquired. ‘Don’t you even remember? That woman you carried across the stream,’ his colleague snapped. ‘Oh, her,’ laughed the sleepy monk. ‘I only carried her across the stream. You carried her all the way back to the monastery.’ The learning point is simple: When it comes to our flawed past, leave it at the stream. I am not suggesting that we should always let go of the past. You need feedback to scour the past and identify room for improvement. But you can’t change the past. To change you need to be sharing ideas for the future.

University of Otago social historian Hera Cook provides a beautiful illustration of exactly this point in her rich account of the sexual revolution.49 Cook notes that in eighteenth-century England, women were assumed to be sexually passionate. But drawing on economic and social changes, fertility-rate patterns, personal accounts, and sex surveys and manuals, Cook charts the path toward the sexual repression of the Victorian era. This was a time of reduced female economic power, thanks to a shift from production in the home to wage earning, and there was less community pressure on men to financially support children fathered out of wedlock. And so, in the absence of well-known, reliable birth control techniques, “women could not afford to enjoy sex. The risk made it too expensive a pleasure.”50

I found the world of the Little House books to be so much less confusing, not just because it was "simpler," as plenty of people love to insist, but because it reconciled all the little contradictions of my modern girlhood. On the Banks of Plum Creek clicked with me especially, with its perfect combination of pinafores and recklessness. (I will direct your attention to the illustration on page 31 of my Plum Creek paperback, where you will note how fabulous Laura looks as she pokes the badger with a stick; her style is casual yet feminine, perfect for precarious nature adventures!) At an age when I found myself wanting both a Webelos uniform and a head of beautiful Superstar Barbie hair, On the Banks of Plum Creek was a reassuring book. Being a girl sometimes made more sense in Laura World than it did in real life.

Neither can beauty or strength make you blessed, for none of these qualities can withstand old age. What we have to seek for, then, is that which does not each day pass more and more under the control of some power which cannot be withstood. And what is this? It is the soul, – but the soul that is upright, good, and great. What else could you call such a soul than a god dwelling as a guest in a human body? A soul like this may descend into a Roman knight just as well as into a freedman's son or a slave. For what is a Roman knight, or a freedmen's son, or a slave? They are mere titles, born of ambition or of wrong. One may leap to heaven from the very slums. Only rise And mould thyself to kinship with thy God. This moulding will not be done in gold or silver; an image that is to be in the likeness of God cannot be fashioned of such materials; remember that the gods, when they were kind unto men, were moulded in clay. Farewell.

In these times there is a powerful demarcation between the surface and the deep currents of human development. Events and upheavals, which seem more profound than they really are, are happening on the surface. But there is another and deeper change in progress. It is of long, steady persistent growth, very little affected and not at all disturbed by surface conditions. The artist of today should be alive to this deeper evolution on which all growth depends, has depended and will depend. On the surface there is the battle of institutions, the illustration of events, the strife between peoples. On the surface there is propaganda and there is the effort to force opinions. The deeper current carries no propaganda. The shock of the surface upheaval does not deflect it from its course. It is in search of fundamental principle; that basic principle of all, which in degree as it is apprehended points the way to beauty and order, and to the law of nature.

Despite all the admiration M. Swann might profess for these figures of Giotto, it was a long time before I could find any pleasure in seeing in our schoolroom (where the copies he had brought me were hung) Charity devoid of charity, that Envy who looked like nothing so much as a plate in some medical book, illustrating the compression of the glottis or uvula by a tumour in the tongue, or by the introduction of the operator's instrument, a Justice whose greyish and meanly regular features were the very same as those which adorned the faces of certain good and pious and slightly withered ladies of Combray whom I used to see at mass, many of whom had long been enrolled in the reserve forces of Injustice. But in later years I understood the arresting strangeness, the special beauty of these frescoes lay in the great part played in each of them by its symbols, while the fact that these were depicted, not as symbols (for the thought symbolized was nowhere expressed), but as real things, actually felt or materially handled, added something more precise and more literal to their meaning, something more concrete and more striking to the lesson they imparted.

Normally, we are supposed to say farewell to the page even as we look, to see past the cut of the type, hear beyond the shape of the sound, feel more than the heft of the book, to hear the bird sing whose name has been invoked, and think of love being made through the length of the night if the bird's name is nightingale; but when the book itself has the beauty of the bird, and the words do their own singing; when the token is treated as if it, not some divine intention, was holy and had power; when the bird itself is figured in the margins as though that whiteness were a moon-bleached bough and the nearby type the leaves it trembles; and when indigo turbans or vermilion feathers are, with jasmines, pictured so perfectly that touch falls in love with the finger, eyes light, and nostrils flare; when illustrations refuse to illustrate but instead suggest the inside of the reader's head, where a consciousness is being constructed; then the nature of the simple sign is being vigorously denied, and the scene or line or brief rendition is being treated like a thing itself, returning the attention to its qualities and composition. -- From "The Book As a Container of Consciousness

Sick Boy : It's certainly a phenomenon in all walks of life. Mark "Rent-boy" Renton : What do you mean? Sick Boy : Well, at one time, you've got it, and then you lose it, and it's gone forever. All walks of life: George Best, for example. Had it, lost it. Or David Bowie, or Lou Reed... Mark "Rent-boy" Renton : Some of his solo stuff's not bad. Sick Boy : No, it's not bad, but it's not great either. And in your heart you kind of know that although it sounds all right, it's actually just shite. Mark "Rent-boy" Renton : So who else? Sick Boy : Charlie Nicholas, David Niven, Malcolm McLaren, Elvis Presley... Mark "Rent-boy" Renton : OK, OK, so what's the point you're trying to make? Sick Boy : All I'm trying to do is help you understand that The Name of The Rose is merely a blip on an otherwise uninterrupted downward trajectory. Mark "Rent-boy" Renton : What about The Untouchables? Sick Boy : I don't rate that at all. Mark "Rent-boy" Renton : Despite the Academy Award? Sick Boy : That means fuck all. Its a sympathy vote. Mark "Rent-boy" Renton : Right. So we all get old and then we can't hack it anymore. Is that it? Sick Boy : Yeah. Mark "Rent-boy" Renton : That's your theory? Sick Boy : Yeah. Beautifully fucking illustrated.

Damn, she just kept on surprising him. First with her beauty. Then with the illustrations. He'd been forced to accept that there was more to her character than he'd gleaned from her letters, but none of it fell too far outside the borders of his carefully mapped mental territory labeled "Madeline." She was privileged, sheltered, intelligent, curious, and far too crafty. But this... This was different. As he watched her with the tenants' children, his conception of her pushed against its established boundaries. He was forced to add new descriptors to his list. Ones like "generous" and "responsible" and "protective.

Caring means cultivating the skills of an active listener. That is easier said than done, as an anecdote about the extraordinary social skills of British politicianBenjamin Disraeli and his rival William Gladstone illustrates ... The rivalry between the two statesmen piqued the curiosity of American Jennie Jerome, admired beauty and the mother of Winston Churchill. Ms. Jerome arranged to dine with Gladstone and then with Disraeli, on consecutive evenings. Afterward, she described the difference between the two men this way: "When I left the dining room after sitting next to Gladstone, I thought he was the cleverest man in England. But when I sat next to Disraeli, I left feeling that I was the cleverest woman.

The following is one of the oldest sermon illustrations used in the Christian church. It also tests one’s understanding of the Christian life. There once lived an ugly, hunchback dwarf. No one ever invited him to a party. No one showed him love or even attention. He became disillusioned with life and decided to climb a mountain and throw himself from its peak into the abyss. When he ascended the mountain, he met a beautiful girl. He talked to her and discovered that she was climbing the mountain for the same purpose. Her suffering was at the other extreme. She had everyone’s attention and love, but the one she loved had forsaken her for another girl, one with riches. She felt life had no meaning for her any longer, so they decided to make the ascent together. While they climbed, they met a man who introduced himself as a police officer in search of a very dangerous bandit who had robbed and murdered many people. The king had promised a large reward to the person who captured him. The police officer was very confident: “I will catch him because I know he has a feature by which he can be recognized. He has six fingers on his right hand. The police have been looking for him for years. For the last two or three, nothing has been heard from him, but he must pay for a multitude of past crimes.” The three climbed the mountain. Near its peak was a monastery. Its abbot, although he had become a monk only recently, had quickly attained great renown for saintliness. When they entered the monastery, he came to meet them. You could see the glory of God in his face. As the girl bowed to kiss his right hand, she saw he had six fingers. With this, the story ends. Those who hear this story are perplexed. It can’t finish like this! What happened to the dwarf, the girl, the policeman? Was the criminal caught? The story’s beauty is that it does finish here. Something beautiful has happened: A criminal hunted because of his many robberies and murders has become a great saint, renowned for his godly life. All the rest is of no further interest. The great miracle has been performed. Christ has been born in the heart of a man of very low character.

After being conditioned as a child to the lovely never-never land of magic, of fairy queens and virginal maidens, of little princes and their rosebushes, of poignant bears and Eeyore-ish donkeys, of life personalized, as the pagans loved it, of the magic wand, and the faultless illustrations—the beautiful dark-haired child (who was you) winging through the midnight sky on a star-path in her mother’s box of reels—of Griselda in her feather-cloak, walking barefoot with the Cuckoo in the lantern-lit world of nodding mandarins, of Delight in her flower garden with the slim-limbed flower sprites … all this I knew, and felt, and believed. All this was my life when I was young. To go from this to the world of “grown-up” reality … To feel the sexorgans develop and call loud to the flesh; to become aware of school, exams (the very words as unlovely as the sound of chalk shrilling on the blackboard), bread and butter, marriage, sex, compatibility, war, economics, death, and self. What a pathetic blighting of the beauty and reality of childhood. Not to be sentimental, as I sound, but why the hell are we conditioned into the smooth strawberry-and-cream Mother-Goose-world, Alice-in-Wonderland fable, only to be broken on the wheel as we grow older and become aware of ourselves as individuals with a dull responsibility in life? To learn snide and smutty meanings of words you once loved, like “fairy.” —From The Journals of Sylvia Plath

them flouncing into the pool, drinking, tossing up their heads, drinking again, the water dribbling from their lips in silver threads. There was another flounce, and they came out of the pond, and turned back again towards the farm. She looked further around. Day was just dawning, and beside its cool air and colours her heated actions and resolves of the night stood out in lurid contrast. She perceived that in her lap, and clinging to her hair, were red and yellow leaves which had come down from the tree and settled silently upon her during her partial sleep. Bathsheba shook her dress to get rid of them, when multitudes of the same family lying round about her rose and fluttered away in the breeze thus created, "like ghosts from an enchanter fleeing." There was an opening towards the east, and the glow from the as yet unrisen sun attracted her eyes thither. From her feet, and between the beautiful yellowing ferns with their feathery arms, the ground sloped downwards to a hollow, in which was a species of swamp, dotted with fungi. A morning mist hung over it now—a fulsome yet magnificent silvery veil, full of light from the sun, yet semi-opaque—the hedge behind it being in some measure hidden by its hazy luminousness. Up the sides of this depression grew sheaves of the common rush, and here and there a peculiar species of flag, the blades of which glistened in the emerging sun, like scythes. But the general aspect of the swamp was malignant. From its moist and poisonous coat seemed to be exhaled the essences of evil things in the earth, and in the waters under the earth. The fungi grew in all manner of positions from rotting leaves and tree stumps, some exhibiting to her listless gaze their clammy tops, others their oozing gills. Some were marked with great splotches, red as arterial blood, others were saffron yellow, and others tall and attenuated, with stems like macaroni. Some were leathery and of richest browns. The hollow seemed a nursery of pestilences small and great, in the immediate neighbourhood of comfort and health, and Bathsheba arose with a tremor at the thought of having passed the night on the brink of so dismal a place.

On retiring to Capri [Tiberius] devised a pleasance for his secret orgies: teams of wantons of both sexes, selected as experts in deviant intercourse and dubbed analists, copulated before him in triple unions to excite his flagging passions. Its bedrooms were furnished with the most salacious paintings and sculptures, as well as with an erotic library, in case a performer should need an illustration of what was required. Then in Capri's woods and groves he arranged a number of nooks of venery where boys and girls got up as Pans and nymphs solicited outside bowers and grottoes. e acquired a reputation for still grosser depravities that one can hardly bear to tell or be told, let alone believe. For example, he trained little boys (whom he termed tiddlers) to crawl between his thighs when he went swimming and tease him with their licks and nibbles; and unweaned babies he would put to his organ as though to the breast, being by both nature and age rather fond of this form of satisfaction. Left a painting of Parrhasius's depicting Atalanta pleasuring Meleager with her lips on condition that if the theme displeased him he was to have a million sesterces instead, he chose to keep it and actually hung it in his bedroom. The story is also told that once at a sacrifice, attracted by the acolyte's beauty, he lost control of himself and, hardly waiting for the ceremony to end, rushed him off and debauched him and his brother, the flute-player, too; and subsequently, when they complained of the assault, he had their legs broken.

CLOSE is what we almost always are: close to happiness, close to another, close to leaving, close to tears, close to God, close to losing faith, close to being done, close to saying something, or close to success, and even, with the greatest sense of satisfaction, close to giving the whole thing up. Our human essence lies not in arrival, but in being almost there, we are creatures who are on the way, our journey a series of impending anticipated arrivals. We live by unconsciously measuring the inverse distances of our proximity: an intimacy calibrated by the vulnerability we feel in giving up our sense of separation. To go beyond our normal identities and become closer than close is to lose our sense of self in temporary joy, a form of arrival that only opens us to deeper forms of intimacy that blur our fixed, controlling, surface identity. To consciously become close is a courageous form of unilateral disarmament, a chancing of our arm and our love, a willingness to hazard our affections and an unconscious declaration that we might be equal to the inevitable loss that the vulnerability of being close will bring. Human beings do not find their essence through fulfillment or eventual arrival but by staying close to the way they like to travel, to the way they hold the conversation between the ground on which they stand and the horizon to which they go. What makes the rainbow beautiful, is not the pot of gold at its end, but the arc of its journey between here and there, between now and then, between where we are now and where we want to go, illustrated above our unconscious heads in primary colour. We are in effect, always, close; always close to the ultimate secret: that we are more real in our simple wish to find a way than any destination we could reach: the step between not understanding that and understanding that, is as close as we get to happiness.

... The influence of the Pre-Raphaelites was felt less through their paintings than through a book, The Poems of Tennyson, edited by Moxon and wonderfully illustrated by Rossetti and Millais. The influence on Maeterlinck stems less from the poems themselves than from the illustrations. The revival of illustrated books in the last two years of the century derives from this Tennyson, the books printed at William Morris' press, the albums of Walter Crane. These last two and the ravishing little books for children by Kate Greenaway were heralded by Huysmans as early as 1881. Generally speaking, it is the English Aesthetic Movement rather than the Pre-Raphaelites which influenced the Symbolists, a new life-style rather than a school of painting. The Continent, passing through the Industrial Revolution some fifty years after England, found valuable advice on how to escape from materialism on the other side of the Channel. Everything that one heard about the refinements practised in Chelsea enchanted Frenchmen of taste: furniture by Godwin, open-air theatricals by Lady Archibald Campbell, the Peacock Room by Whistler, Liberty prints. As the pressure of morality was much less pronounced in France than in England, the ideal of Aestheticism was not a revolt but a retreat towards an exquisite world which left hearty good living to the readers of the magazine La Vie Parisienne ('Paris Life') and success to the readers of Zola. If one could not write a beautiful poem or paint a beautiful picture, one could always choose materials or arrange bouquets of flowers. Aesthetic ardour smothered the anglophobia in the Symbolist circle. The ideal of a harmonious life suggested in Baudelaire's poem L' Invitation au Voyage seemed capable of realization in England, whose fashions were brought back by celebrated travellers: Mallarmé after 1862, Verlaine in 1872. Carrière spent a long time in London, as did Khnopff later on. People read books by Gabriel Mourey on Swinburne, and his Passé le Détroit ('Beyond the Channel') is particularly important for the artistic way of life ... Thus England is represented in this hall of visual influences by the works of Burne-Jones and Watts, by illustrated books, and by objets d'art ...

A silver hairbrush, old and surely precious, with a little leopard's head for London stamped near the bristles. A white dress, small and pretty, the sort of old-fashioned dress Cassandra had never seen, let alone owned- the girls at school would laugh if she wore such a thing. A bundle of papers tied together with a pale blue ribbon. Cassandra let the bow slip loose between her fingertips and brushed the ends aside to see what lay beneath. A picture, a black-and-white sketch. The most beautiful woman Cassandra had ever seen, standing beneath a garden arch. No, not an arch, a leafy doorway, the entrance to a tunnel of trees. A maze, she thought suddenly. The strange word came into her mind fully formed. Scores of little black lines combined like magic to form the picture, and Cassandra wondered what it would feel like to create such a thing. The image was oddly familiar and at first she couldn't think how that could be. Then she realized- the woman looked like someone from a children's book. Like an illustration from an olden-days fairy tale, the maiden who turns into a princess when the handsome prince sees beyond her ratty clothing.

When Adrian’s father opened certain books with illustrations in colour of exotic lepidoptera and sea creatures, we looked at them, his sons and I, Frau Leverkühn as well, over the back of his leather-cushioned chair with the ear-rests; and he pointed with his forefinger at the freaks and fascinations there displayed in all the colours of the spectrum, from dark to light, mustered and modelled with the highest technical skill: genus Papilio and genus Morpho, tropical insects which enjoyed a brief existence in fantastically exaggerated beauty, some of them regarded by the natives as evil spirits bringing malaria. The most splendid colour they displayed, a dreamlike lovely azure, was, so Jonathan instructed us, no true colour at all, but produced by fine little furrows and other surface configurations of the scales on their wings, a miniature construction resulting from artificial refraction of the light rays and exclusion of most of them so that only the purest blue light reached the eyes. “Just think,” I can still hear Frau Leverkühn say, “so it is all a cheat?” “Do you call the blue sky a cheat?” answered her husband looking up backwards at her. “You cannot tell me the pigment it comes from.

It is one of the great beauties of our system, that a working-man may raise himself into the power and position of a master by his own exertions and behaviour; that, in fact, every one who rules himself to decency and sobriety of conduct, and attention to his duties, comes over to our ranks; it may not be always as a master, but as an over-looker, a cashier, a book-keeper, a clerk, one on the side of authority and order.' 'You consider all who are unsuccessful in raising themselves in the world, from whatever cause, as your enemies, then, if I under-stand you rightly,' said Margaret' in a clear, cold voice. 'As their own enemies, certainly,' said he, quickly, not a little piqued by the haughty disapproval her form of expression and tone of speaking implied. But, in a moment, his straightforward honesty made him feel that his words were but a poor and quibbling answer to what she had said; and, be she as scornful as she liked, it was a duty he owed to himself to explain, as truly as he could, what he did mean. Yet it was very difficult to separate her interpretation, and keep it distinct from his meaning. He could best have illustrated what he wanted to say by telling them something of his own life; but was it not too personal a subject to speak about to strangers? Still, it was the simple straightforward way of explaining his meaning; so, putting aside the touch of shyness that brought a momentary flush of colour into his dark cheek, he said: 'I am not speaking without book. Sixteen years ago, my father died under very miserable circumstances. I was taken from school, and had to become a man (as well as I could) in a few days. I had such a mother as few are blest with; a woman of strong power, and firm resolve. We went into a small country town, where living was cheaper than in Milton, and where I got employment in a draper's shop (a capital place, by the way, for obtaining a knowledge of goods). Week by week our income came to fifteen shillings, out of which three people had to be kept. My mother managed so that I put by three out of these fifteen shillings regularly. This made the beginning; this taught me self-denial. Now that I am able to afford my mother such comforts as her age, rather than her own wish, requires, I thank her silently on each occasion for the early training she gave me. Now when I feel that in my own case it is no good luck, nor merit, nor talent,—but simply the habits of life which taught me to despise indulgences not thoroughly earned,—indeed, never to think twice about them,—I believe that this suffering, which Miss Hale says is impressed on the countenances of the people of Milton, is but the natural punishment of dishonestly-enjoyed pleasure, at some former period of their lives. I do not look on self-indulgent, sensual people as worthy of my hatred; I simply look upon them with contempt for their poorness of character.

Tonight, however, Dickens struck him in a different light. Beneath the author’s sentimental pity for the weak and helpless, he could discern a revolting pleasure in cruelty and suffering, while the grotesque figures of the people in Cruikshank’s illustrations revealed too clearly the hideous distortions of their souls. What had seemed humorous now appeared diabolic, and in disgust at these two favourites he turned to Walter Pater for the repose and dignity of a classic spirit. But presently he wondered if this spirit were not in itself of a marble quality, frigid and lifeless, contrary to the purpose of nature. ‘I have often thought’, he said to himself, ‘that there is something evil in the austere worship of beauty for its own sake.’ He had never thought so before, but he liked to think that this impulse of fancy was the result of mature consideration, and with this satisfaction he composed himself for sleep. He woke two or three times in the night, an unusual occurrence, but he was glad of it, for each time he had been dreaming horribly of these blameless Victorian works… It turned out to be the Boy’s Gulliver’s Travels that Granny had given him, and Dicky had at last to explain his rage with the devil who wrote it to show that men were worse than beasts and the human race a washout. A boy who never had good school reports had no right to be so morbidly sensitive as to penetrate to the underlying cynicism of Swift’s delightful fable, and that moreover in the bright and carefully expurgated edition they bring out nowadays. Mr Corbett could not say he had ever noticed the cynicism himself, though he knew from the critical books it must be there, and with some annoyance he advised his son to take out a nice bright modern boy’s adventure story that could not depress anybody. Mr Corbett soon found that he too was ‘off reading’. Every new book seemed to him weak, tasteless and insipid; while his old and familiar books were depressing or even, in some obscure way, disgusting. Authors must all be filthy-minded; they probably wrote what they dared not express in their lives. Stevenson had said that literature was a morbid secretion; he read Stevenson again to discover his peculiar morbidity, and detected in his essays a self-pity masquerading as courage, and in Treasure Island an invalid’s sickly attraction to brutality. This gave him a zest to find out what he disliked so much, and his taste for reading revived as he explored with relish the hidden infirmities of minds that had been valued by fools as great and noble. He saw Jane Austen and Charlotte Brontë as two unpleasant examples of spinsterhood; the one as a prying, sub-acid busybody in everyone else’s flirtations, the other as a raving, craving maenad seeking self-immolation on the altar of her frustrated passions. He compared Wordsworth’s love of nature to the monstrous egoism of an ancient bellwether, isolated from the flock.