Burton Russell Quotes

As the sign of a deeper truth, metaphor was close to sacrament. Because the vastness and richness of reality cannot be expressed by the overt sense of a statement alone.

When botanists go walking the forests and fields looking for plants, we say we are going on a foray. When writers do the same, we should call it a metaphoray, and the land is rich in both. We need them both; scientist and poet Jeffrey Burton Russell writes that “as the sign of a deeper truth, metaphor was close to sacrament. Because the vastness and richness cannot be expressed by the overt sense of a statement alone.

The problem of evil can be stated simply: God is omnipotent; God is perfectly good; such a God would not permit evil to exist; but we observe that evil exists; therefore God does not exist. Variations on this theme are nearly infinite. The problem is not only abstract and philosophical, of course; it is also personal and immediate. Believers tend to forget that their God takes away everything that one cares about: possessions, comforts, success, profession or craft, knowledge, friends, family and life. What kind of God is this? Any decent religion must face this question squarely, and no answer is credible that cannot be given in the face of dying children.

Renaissance" is not a good historical term, since it implies death and rebirth and great cataclysmic changes. There are few abysses or chasms in history; there are merely times when cultural change takes place more quickly and vigorously than at others.

In the words of Bertrand Russell, A certain kind of resignation is involved in willingness to face the truth about ourselves; this kind, though it may involve pain in the first moments, affords ultimately a protection—indeed the only possible protection—against the disappointments and disillusionments to which the self-deceiver is liable.

Renaissance painters saw everything from one perspective, photographically, "realistically," but medieval painters looked at a scene from several different perspectives at once. A medieval picture looked at with this in mind becomes very exciting indeed. It is as if the artist is everywhere at once: the castle is tiny as if seen from afar; the men on its battlements huge as if encountered face to face; this lake is seen from that distance and that tree from this.

But the Platonists never argued that evil’s lack of ultimate reality meant that there was no moral evil in the world. Plato was well aware of wars, murders, and lies. Evil exists, but it exists as a lack of good, just as holes in a Swiss cheese exist only as lack of cheese. The evil of a lie is the absence of truth. Plato did not think that the nonbeing of evil removed evil from the world, only that it removed responsibility for evil from the creator. Evil arose not from the God, but from matter.

The first concerns how an investor should choose among different types of broad-based index funds. The best-known of the broad stock market mutual funds and ETFs in the United States track the S&P 500 index of the largest stocks. We prefer using a broader index that includes more smaller-company stocks, such as the Russell 3000 index or the Dow-Wilshire 5000 index. Funds that track these broader indexes are often referred to as “total stock market” index funds. More than 80 years of stock market history confirm that portfolios of smaller stocks have produced a higher rate of return than the return of the S&P 500 large-company index. While smaller companies are undoubtedly less stable and riskier than large firms, they are likely—on average—to produce somewhat higher future returns. Total stock market index funds are the better way for investors to benefit from the long-run growth of economic activity.

A crença de uma época é a superstição de outra

The growing interest in medieval-period reconstruction is vividly legible in the music, cinema listings and television schedules of the late 1960s and early 70s. Besides the BBC Tudor series mentioned earlier – which led to a spin-off cinema version, Henry VIII and his Six Wives, in 1972 – there was Anne of the Thousand Days (1969), centred on Henry’s first wife Anne Boleyn, starring Richard Burton and Geneviève Bujold; the Thomas More biopic A Man for All Seasons (1966); Peter O’Toole as Henry II in Anthony Harvey’s The Lion in Winter (1968); David Hemmings as Alfred the Great (1969); the hysterical convent of Russell’s The Devils (1971); and future singer Murray Head in a melodramatic retelling of Gawain and the Green Knight (1973). In the same period HTV West made a series of often repeated mud-and-guts episodes of Arthur of the Britons (1972–3), and visionary Italian director Pier Paolo Pasolini unveiled his earthy adapations of the Decameron (1970) and The Canterbury Tales (1971). From the time of the English Civil War, Ken Hughes cast Richard Harris in his erratic portrait of Cromwell (1970); and the twenty-three-year-old doomed genius Michael Reeves made his Witchfinder General in 1968, in which the East Anglian farmland becomes a transfigured backdrop to a tale of superstition and violent religious persecution in 1645. Period reconstruction, whether in film, television or music, has been a staple of British culture, innate to a mindset that always finds its identity in the grain of the past.

Kim ki bir çiçek koparır, en uzak yıldızı rahatsız eder. -Thomas Traherne