Contrast In Literature Quotes

A lot of the people who read a bestselling novel, for example, do not read much other fiction. By contrast, the audience for an obscure novel is largely composed of people who read a lot. That means the least popular books are judged by people who have the highest standards, while the most popular are judged by people who literally do not know any better. An American who read just one book this year was disproportionately likely to have read ‘The Lost Symbol’, by Dan Brown. He almost certainly liked it.

She felt the cold blast from the sterile air conditioning on her bare arms and thighs, as she ambled down the center of the shopping complex's ground floor. The scene was a swirl of candy bright lights--the Victoria's Secret fuchsia signboard, signboards which lured one to purchase "confidence," or "sexual appeal," or whatever it was that was being advertised--the fluorescent lights in each store, contrasting with the shiny, black-tiled walls and eye-catching speckled marble tiles on the ground. One could lick the floor--the tiles were spotless, clean like the fake air she was breathing in, like the atoms and cells in her that were decaying in stale neglect.

This is the paradox of the power of literature: it seems that only when it is persecuted does it show its true powers, challenging authority, whereas in our permissive society it feels that it is being used merely to create the occasional pleasing contrast to the general ballooning of verbiage.

Belatedly it occurs to me that some members of your HR committee, a few skeptical souls, may be clutching a double strand of worry beads and wondering aloud about the practicality or usefulness of a degree in English rather than, let’s say, computers. Be reassured: the literature student has learned to inquire, to question, to interpret, to critique, to compare, to research, to argue, to sift, to analyze, to shape, to express. His intellect can be put to broad use. The computer major, by contrast, is a technician—a plumber clutching a single, albeit shining, box of tools.

The willful amnesia afflicting the sciences in general contrasts sharply with the importance given to memory by the humanities. Literature, philosophy, politics, and the visual arts, including photography and filmmaking, feed on memory. Practitioners of the humanities need memory to deepen and refine their thinking.

We should be familiar with the great histories, the great biographies. We should be familiar with the great success stories, the great love stories, the great philosophies. It would also be a good idea to memorize potent passages from great poetry and other literary works. Our literature also may give us extra, pleasant hours as well as furnish contrasts and comparisons which may help us to evaluate and direct our own lives.

...the literature student has learned to inquire, to question, to interpret, to critique, to compare, to research, to argue, to sift, to analyze, to shape, to express. His intellect can be put to broad use. The computer major, by contrast, is a technician - a plumber clutching a single, albeit shining, box of tools.

Euripides, however, has drawn Fate down from the region of the infinite; and with him inevitable necessity not unfrequently degenerates into the caprice of chance. Accordingly, he can no longer apply it to its proper purpose, namely, by contrast with it, to heighten the moral liberty of man. How few of his pieces turn upon a steadfast resistance to the decrees of fate, or an equally heroic submission to them! His characters generally suffer because they must, and not because they will.

For centuries, no one was concerned that books weren’t girl-friendly, because no one really cared if girls read; but even so, we persisted for long enough that literature has slowly come to accommodate us. Modern boys, by contrast, are not trying to read in a culture of opposition. Nobody is telling them reading doesn’t matter, that boys don’t need to read and that actually, no prospective wife looks for literacy in a husband. Quite the opposite! Male literary culture thrives, both teachers and parents are throwing books at their sons, and the fact that the books aren’t sticking isn’t, as the nature of the complaint makes clear, because boys don’t like reading – no. The accusation is that boys don’t like reading about girls, which is a totally different matter. Because constantly, consistently, our supposedly equal society penalises boys who express an interest in anything feminine. The only time boys are discouraged from books all together is in contexts where, for whatever reason, they’ve been given the message that reading itself is girly – which is a wider extrapolation of the same problem.

Interestingly, this speech by Prospero does not contrast the unreality of the stage with the solid, flesh-and-blood existence of real men and women. On the contrary, it seizes on the flimsiness of dramatic characters as a metaphor for the fleeting, fantasy-ridden quality of actual human lives. It is we who are made of dreams, not just such figments of Shakespeare’s imagination as Ariel and Caliban. The cloud-capped towers and gorgeous palaces of this earth are mere stage scenery after all.

Once a nation fell to Germany, great care was taken to refashion that country’s concepts of culture, history, literature, art, media, and entertainment in an effort to solidify and reinforce Hitler’s power. Often, the first cultural pillar to be toppled was the library. Hitler created the Einsatzstab Reichsleiter Rosenberg (ERR) to confiscate desirable books and other artifacts in occupied territories. They were intended for a Nazi university to be built after the war. Undesirable books, by contrast, were destroyed.

Are you sure?” I asked. “I thought there was a story in Buddhist literature that parallels the Prodigal Son parable.” “Well, they’re similar to the degree that they both involve sons who rebelled and left home, then later saw the error of their ways and came back. But the Buddhist story ends quite differently — the son has to work off his misdeeds.” “How?” “He ends up toiling for twenty-five years, hauling dung. So that provides a stark contrast between the God of grace and a religion where people have to work their way to nirvana.

The ruinous deeds of the ravaging foe (Beowulf) The best-known long text in Old English is the epic poem Beowulf. Beowulf himself is a classic hero, who comes from afar. He has defeated the mortal enemy of the area - the monster Grendel - and has thus made the territory safe for its people. The people and the setting are both Germanic. The poem recalls a shared heroic past, somewhere in the general consciousness of the audience who would hear it. It starts with a mention of 'olden days', looking back, as many stories do, to an indefinite past ('once upon a time'), in which fact blends with fiction to make the tale. But the hero is a mortal man, and images of foreboding and doom prepare the way for a tragic outcome. He will be betrayed, and civil war will follow. Contrasts between splendour and destruction, success and failure, honour and betrayal, emerge in a story which contains a great many of the elements of future literature. Power, and the battles to achieve and hold on to power, are a main theme of literature in every culture - as is the theme of transience and mortality. ................ Beowulf can be read in many ways: as myth; as territorial history of the Baltic kingdoms in which it is set; as forward-looking reassurance. Questions of history, time and humanity are at the heart of it: it moves between past, present, and hope for the future, and shows its origins in oral tradition. It is full of human speech and sonorous images, and of the need to resolve and bring to fruition a proper human order, against the enemy - whatever it be - here symbolised by a monster and a dragon, among literature's earliest 'outsiders'. ....... Beowulf has always attracted readers, and perhaps never more than in the 1990s when at least two major poets, the Scot Edwin Morgan and the Irishman Seamus Heaney, retranslated it into modern English. Heaney's version became a worldwide bestseller, and won many awards, taking one of the earliest texts of English literature to a vast new audience.

Now we see Christendom likewise sinking. But the true point is this: that Christ's kingdom remains. Indeed, it can be seen more clearly and appreciated more sharply by contrast with the darkness and depravity of the contemporary scene. (...) A wonderful sign (...) is the amazing renewal of the Christian faith in its purest possible form in, of all places, the countries that have been most drastically subjected to the oppression and brainwashing and general influence of the first overtly atheistic and materialistic regime to exist on earth. (...) Soviet citizens had no access to the Gospels, few religious services available, no literature of the mystics, no devotional works, no religious music, and an education brutally atheistic and secular.

My own mother was evacuated at the age of five during World War Two and my father was a young man working as an ARP warden. This novel is purely fictitious, but I wanted to explore the traumas that many ordinary people of the war generation suffered, experiences which would be quite unimaginable to many of us today and then to contrast them with the issues we all face in the modern day.

These (Shakespeare, Milton, and Victor Hugo) not only knit and knot the logical texture of the style with all the dexterity and strength of prose; they not only fill up the pattern of the verse with infinite variety and sober wit; but they give us, besides, a rare and special pleasure, by the art, comparable to that of counterpoint, with which they follow at the same time, and now contrast, and now combine, the double pattern of the texture and the verse.  Here the sounding line concludes; a little further on, the well-knit sentence; and yet a little further, and both will reach their solution on the same ringing syllable.  The best that can be offered by the best writer of prose is to show us the development of the idea and the stylistic pattern proceed hand in hand, sometimes by an obvious and triumphant effort, sometimes with a great air of ease and nature.  The writer of verse, by virtue of conquering another difficulty, delights us with a new series of triumphs.  He follows three purposes where his rival followed only two; and the change is of precisely the same nature as that from melody to harmony. -ON SOME TECHNICAL ELEMENTS OF STYLE IN LITERATURE

Though one of the greatest love stories in world literature, Anna Karenin is of course not just a novel of adventure. Being deeply concerned with moral matters, Tolstoy was eternally preoccupied with issues of importance to all mankind at all times. Now, there is a moral issue in Anna Karenin, though not the one that a casual reader might read into it. This moral is certainly not that having committed adultery, Anna had to pay for it (which in a certain vague sense can be said to be the moral at the bottom of the barrel in Madame Bovary). Certainly not this, and for obvious reasons: had Anna remained with Karenin and skillfully concealed from the world her affair, she would not have paid for it first with her happiness and then with her life. Anna was not punished for her sin (she might have got away with that) nor for violating the conventions of a society, very temporal as all conventions are and having nothing to do with the eternal demands of morality. What was then the moral "message" Tolstoy has conveyed in his novel? We can understand it better if we look at the rest of the book and draw a comparison between the Lyovin-Kitty story and the Vronski-Anna story. Lyovin's marriage is based on a metaphysical, not only physical, concept of love, on willingness for self-sacrifice, on mutual respect. The Anna-Vronski alliance was founded only in carnal love and therein lay its doom. It might seem, at first blush, that Anna was punished by society for falling in love with a man who was not her husband. Now such a "moral" would be of course completely "immoral," and completely inartistic, incidentally, since other ladies of fashion, in that same society, were having as many love-affairs as they liked but having them in secrecy, under a dark veil. (Remember Emma's blue veil on her ride with Rodolphe and her dark veil in her rendezvous at Rouen with Léon.) But frank unfortunate Anna does not wear this veil of deceit. The decrees of society are temporary ones ; what Tolstoy is interested in are the eternal demands of morality. And now comes the real moral point that he makes: Love cannot be exclusively carnal because then it is egotistic, and being egotistic it destroys instead of creating. It is thus sinful. And in order to make his point as artistically clear as possible, Tolstoy in a flow of extraordinary imagery depicts and places side by side, in vivid contrast, two loves: the carnal love of the Vronski-Anna couple (struggling amid their richly sensual but fateful and spiritually sterile emotions) and on the other hand the authentic, Christian love, as Tolstoy termed it, of the Lyovin-Kitty couple with the riches of sensual nature still there but balanced and harmonious in the pure atmosphere of responsibility, tenderness, truth, and family joys.

Valentine’s concept of introversion includes traits that contemporary psychology would classify as openness to experience (“thinker, dreamer”), conscientiousness (“idealist”), and neuroticism (“shy individual”). A long line of poets, scientists, and philosophers have also tended to group these traits together. All the way back in Genesis, the earliest book of the Bible, we had cerebral Jacob (a “quiet man dwelling in tents” who later becomes “Israel,” meaning one who wrestles inwardly with God) squaring off in sibling rivalry with his brother, the swashbuckling Esau (a “skillful hunter” and “man of the field”). In classical antiquity, the physicians Hippocrates and Galen famously proposed that our temperaments—and destinies—were a function of our bodily fluids, with extra blood and “yellow bile” making us sanguine or choleric (stable or neurotic extroversion), and an excess of phlegm and “black bile” making us calm or melancholic (stable or neurotic introversion). Aristotle noted that the melancholic temperament was associated with eminence in philosophy, poetry, and the arts (today we might classify this as opennessto experience). The seventeenth-century English poet John Milton wrote Il Penseroso (“The Thinker”) and L’Allegro (“The Merry One”), comparing “the happy person” who frolics in the countryside and revels in the city with “the thoughtful person” who walks meditatively through the nighttime woods and studies in a “lonely Towr.” (Again, today the description of Il Penseroso would apply not only to introversion but also to openness to experience and neuroticism.) The nineteenth-century German philosopher Schopenhauer contrasted “good-spirited” people (energetic, active, and easily bored) with his preferred type, “intelligent people” (sensitive, imaginative, and melancholic). “Mark this well, ye proud men of action!” declared his countryman Heinrich Heine. “Ye are, after all, nothing but unconscious instruments of the men of thought.” Because of this definitional complexity, I originally planned to invent my own terms for these constellations of traits. I decided against this, again for cultural reasons: the words introvert and extrovert have the advantage of being well known and highly evocative. Every time I uttered them at a dinner party or to a seatmate on an airplane, they elicited a torrent of confessions and reflections. For similar reasons, I’ve used the layperson’s spelling of extrovert rather than the extravert one finds throughout the research literature.

[M]ay not literature (and, in particular, fiction) be considered a desperate and permanently thwarted effort to produce a unique form of expression? Something like a cry, perhaps, a cry that, somehow, inexplicably contains all the millions of words that have ever existed, anywhere, in any age. In contrast with the spoken word and its classifying function, the purpose of writing seems, rather, to be a quest for the egg, the seed, nothing more.

As it happens, there’s a way of presenting data, called the funnel plot, that indicates whether or not the scientific literature is biased in this way.15 (If statistics don’t excite you, feel free to skip straight to the probably unsurprising conclusion in the last sentence of this paragraph.) You plot the data points from all your studies according to the effect sizes, running along the horizontal axis, and the sample size (roughly)16 running up the vertical axis. Why do this? The results from very large studies, being more “precise,” should tend to cluster close to the “true” size of the effect. Smaller studies by contrast, being subject to more random error because of their small, idiosyncratic samples, will be scattered over a wider range of effect sizes. Some small studies will greatly overestimate a difference; others will greatly underestimate it (or even “flip” it in the wrong direction). The next part is simple but brilliant. If there isn’t publication bias toward reports of greater male risk taking, these over- and underestimates of the sex difference should be symmetrical around the “true” value indicated by the very large studies. This, with quite a bit of imagination, will make the plot of the data look like an upside-down funnel. (Personally, my vote would have been to call it the candlestick plot, but I wasn’t consulted.) But if there is bias, then there will be an empty area in the plot where the smaller samples that underestimated the difference, found no differences, or yielded greater female risk taking should be. In other words, the overestimates of male risk taking get published, but various kinds of “underestimates” do not. When Nelson plotted the data she’d been examining, this is exactly what she found: “Confirmation bias is strongly indicated.”17 This

We may now briefly enumerate the elements of style.  We have, peculiar to the prose writer, the task of keeping his phrases large, rhythmical, and pleasing to the ear, without ever allowing them to fall into the strictly metrical: peculiar to the versifier, the task of combining and contrasting his double, treble, and quadruple pattern, feet and groups, logic and metre—harmonious in diversity: common to both, the task of artfully combining the prime elements of language into phrases that shall be musical in the mouth; the task of weaving their argument into a texture of committed phrases and of rounded periods—but this particularly binding in the case of prose: and, again common to both, the task of choosing apt, explicit, and communicative words.  We begin to see now what an intricate affair is any perfect passage; how many faculties, whether of taste or pure reason, must be held upon the stretch to make it; and why, when it is made, it should afford us so complete a pleasure.  From the arrangement of according letters, which is altogether arabesque and sensual, up to the architecture of the elegant and pregnant sentence, which is a vigorous act of the pure intellect, there is scarce a faculty in man but has been exercised.  We need not wonder, then, if perfect sentences are rare, and perfect pages rarer. -ON SOME TECHNICAL ELEMENTS OF STYLE IN LITERATURE

For too long the depth of racism in American life has been underestimated. The surgery to extract it is necessarily complex and detailed. As a beginning it is important to X-ray our history and reveal the full extent of the disease. The strands of prejudice toward Negroes are tightly wound around the American character. The prejudice has been nourished by the doctrine of race inferiority. Yet to focus upon the Negro alone as the "inferior race" of American myth is to miss the broader dimensions of the evil. Our nation was born in genocide when it embraced the doctrine that the original American, the Indian, was an inferior race. Even before there were large numbers of Negroes on our shores, the scar of racial hatred had already disfigured colonial society. From the sixteenth century forward, blood flowed in battles over racial supremacy. We are perhaps the only nation which tried as a matter of national policy to wipe out its indigenous population. Moreover, we elevated that tragic experience into a noble crusade. Indeed, even today we have not permitted ourselves to reject or to feel remorse for this shameful episode. Our literature, our films, our drama, our folklore all exalt it. Our children are still taught to respect the violence which reduced a red-skinned people of an earlier culture into a few fragmented groups herded into impoverished reservations. This is in sharp contrast to many nations south of the border, which assimilated their Indians, respected their culture, and elevated many of them to high position. It was upon this massive base of racism that the prejudice toward the nonwhite was readily built, and found rapid growth. This long-standing racist ideology has corrupted and diminished our democratic ideals. It is this tangled web of prejudice from which many Americans now seek to liberate themselves, without realizing how deeply it has been woven into their consciousness.

I started out studying literature, but soon discovered that science was where I actually belonged. The contrast made it all the clearer: in science classes we did things instead of just sitting around talking about things. We worked with our hands and there were concrete and almost daily payoffs. Our laboratory experiments were predesigned to work perfectly and elegantly every time, and the more of them that you did, the bigger the machines and the more exotic were the chemicals that they let you use.

That is, I fancy, the true doctrine on the subject of Tales of Terror and such things, which unless a man of letters do well and truly believe, without doubt he will end by blowing his brains out or by writing badly. Man, the central pillar of the world must be upright and straight; around him all the trees and beasts and elements and devils may crook and curl like smoke if they choose. All really imaginative literature is only the contrast between the weird curves of Nature and the straightness of the soul.

All the fields will be going into distortion—music, philosophy, literature, everything. The enemy comes in to distort it—the rhythm and beauty are gone. We see it in every field. The standards that maintained, and were good in their own fields, that all is undermined; in the nations, in government, in schools, in family life. God will let it run on that mechanism until it will run out on that. It is antichrist contrasting against Christ; against Truth; and a spirit of lowliness: May we be able to discern, and distinguish between them.

The danger of religious faith is that it allows otherwise normal human beings to reap the fruits of madness and consider them holy. Because each new generation of children is taught that religious propositions need not be justified in the way that all others must, civilization is still besieged by the armies of the preposterous. We are, even now, killing ourselves over ancient literature. Who would have thought something so tragically absurd could be possible? By contrast, why would anyone go to war for the sake of an absence of belief?

Now the final dogmatic veil has been eternally torn away, the final mystical spirit is being extinguished. And here stand today's people, defenseless-face to face with the indescribable gloom, on the dividing line of light and darkness, and now no one can protect his heart any longer from the terrifying cold drifting up out of the abyss. Wherever we might go, wherever we might hide behind the barrier of scientific criticism, we feel with all our being the nearness of a mystery, the nearness of the ocean. There are no limits! We are free and lonely... No enslaved mysticism of a previous age can be compared with this terror. Never before have people felt in their hearts such a need to believe, and in their minds comprehended their inability to believe. In this diseased and irresolvable dissonance, in this tragic contradiction, as well as in the unheard-of intellectual freedom, in the courage of negation, is contained the most characteristic feature of the mystical need of the nineteenth century. Our time must define in two contrasting features this time of the most extreme materialism and at the same time of the most passionate idealistic outbursts of the spirit. We are witnessing a mighty and all-important struggle between two views of life, between two diametrically opposed worldviews. The final demands of religious feeling are experiencing a confrontation with the final conclusions of the experimental sciences. The intellectual struggle which filled the nineteenth century could not but be reflected in contemporary literature. ("On The Reasons For The Decline And On The New Tendencies In Contemporary Literature")

A novel is a storyline with an antagonist and protagonist, a plot, conflict, and resolution. A memoir is a slice of life. An autobiography is limited to the facts set out in chronological order. When left in the hands of a deft writer a short story is a literature delicacy, a delectable dish comparable to eating a spoonful of chocolate mousse. An essay, in contrast, shows an energetic mind at work. Each essayist employs the prose style and technique that best fits the writer’s climactic meanderings. Personal essays are malleable in form; they contain a blend of memoir, observation, speculation, and opinion.

People called Mother a beauty, when she was young. I remember her very well in those days—until I was fourteen or fifteen she was as beautiful as ever. When I compare that memory of her with Satsuko, the contrast is really striking. Satsuko is also called a beauty. That was the main reason why Jokichi married her. But between these two beauties, between the 1890’s and now, what a change has taken place in the physical appearance of the Japanese woman! For example, Mother’s feet were beautiful too, but Satsuko’s have an altogether different kind of beauty. They hardly seem to belong to a woman of the same race. Mother had dainty feet, small enough to nestle in the palm of my hand, and as she tripped along in her straw sandals she took extremely short, mincing steps with her toes turned in. (I am reminded that in my dream Mother’s feet were bare except for her sandals, even though she was dressed to go visiting. Perhaps she was deliberately showing off her feet to me.) All Meiji women had that pigeon-like walk, not just beauties. As for Satsuko’s feet, they are elegantly long and slender; she boasts that ordinary Japanese shoes are too wide for her. On the contrary, my mother’s feet were fairly broad, rather like those of the Bodhisattva of Mercy in the Sangatstudo in Nara. Also, the women of their day were short in stature. Women under five feet were not uncommon. Having been born in the Meiji era, I am only about five feet two myself, but Satsuko is an inch and a half taller.

Starting with Theodor Adorno in the 1950s, people have suggested that lower intelligence predicts adherence to conservative ideology. Some but not all studies since then have supported this conclusion. More consistent has been a link between lower intelligence and a subtype of conservatism, namely right-wing authoritarianism (RWA, a fondness for hierarchy). ... The standard, convincing explanation for the link is that RWA provides simple answers, ideal for people with poor abstract reasoning skills. The literature has two broad themes. One is that rightists are relatively uncomfortable with ambiguity; ... . The other is that leftists, well, think harder, have a greater capacity for what the political scientist Philip Tetlock of the University of Pennsylvania calls "integrative complexity". In one study, conservatives and liberals, when asked about the causes of poverty, both tended toward personal attributions (“They’re poor because they’re lazy”). But only if they had to make snap judgments. Give people more time, and liberals shifted toward situational explanations (“Wait, things are stacked against the poor”). In other words, conservatives start gut and stay gut; liberals go from gut to head. ... Why? Some have suggested it’s a greater respect for thinking, which readily becomes an unhelpful tautology. Linda Skitka of the University of Illinois emphasizes how the personal attributions of snap judgments readily feel dissonant to liberals, at odds with their principles; thus they are motivated to think their way to a more consonant view. In contrast, even with more time, conservatives don’t become more situational, because there’s no dissonance.

In terms of literary history, the publication of Lyrical Ballads in 1798 is seen as a landmark. The volume contains many of the best-known Romantic poems. The second edition in 1800 contained a Preface in which Wordsworth discusses the theories of poetry which were to be so influential on many of his and Coleridge's contemporaries. The Preface represents a poetic manifesto which is very much in the spirit of the age. The movement towards greater freedom and democracy in political and social affairs is paralleled by poetry which sought to overturn the existing regime and establish a new, more 'democratic' poetic order. To do this, the writers used 'the real language of men' (Preface to Lyrical Ballads) and even, in the case of Byron and Shelley, got directly involved in political activities themselves. The Romantic age in literature is often contrasted with the Classical or Augustan age which preceded it. The comparison is valuable, for it is not simply two different attitudes to literature which are being compared but two different ways of seeing and experiencing life. The Classical or Augustan age of the early and mid-eighteenth century stressed the importance of reason and order. Strong feelings and flights of the imagination had to be controlled (although they were obviously found widely, especially in poetry). The swift improvements in medicine, economics, science and engineering, together with rapid developments in both agricultural and industrial technology, suggested human progress on a grand scale. At the centre of these advances towards a perfect society was mankind, and it must have seemed that everything was within man's grasp if his baser, bestial instincts could be controlled. The Classical temperament trusts reason, intellect, and the head. The Romantic temperament prefers feelings, intuition, and the heart.

The supposedly eyewitness authority of the Pseudo-Turpin finds a parallel in another genre in which vernacular prose was pioneered: that of the historical memoir. There were twelfth-century verse histories narrated by authors who had personally participated in the events they describe, such as the Third Crusade. But the Fourth Crusade of 1202-4 saw a switch to prose. This shameful fiasco, in which the crusaders were induced to turn aside from the Holy Land and attack instead the Christian city of Constantinople, inspired two contrasting accounts. Robert de Clari--ignorant of higher-level strategy, but all agog at the splendours of Constantinople--gives a worm's eye view. Geoffroi de Villehardouin, by contrast, has a top diplomat's suave authority and a leader's eye for the aesthetics of war--the splendid sight of a fleet, or the noble heroism of a ruler. For both authors the medium of prose seems to convey the purported authenticity and transparency of lived experience.

Intellectual property rights are sometimes hailed as the mother of creativity and invention. However, Marshall Brain points out that many of the finest examples of human creativity—from scientific discoveries to creation of literature, art, music and design—were motivated not by a desire for profit but by other human emotions, such as curiosity, an urge to create, or the reward of peer appreciation. Money didn’t motivate Einstein to invent special relativity theory any more than it motivated Linus Torvalds to create the free Linux operating system. In contrast, many people today fail to realize their full creative potential because they need to devote time and energy to less creative activities just to earn a living. By freeing scientists, artists, inventors and designers from their chores and enabling them to create from genuine desire, Marshall Brain’s utopian society enjoys higher levels of innovation than today and correspondingly superior technology and standard of living.

Ego is not an enemy to be broken or demolished, as is often portrayed in spiritual literature. We don't want to get rid of the ego, we want to soften it, make it porous and receptive, so information, thoughts, and compassion flow in and out. A healthy ego allows us to have the strength of our convictions yet be open to others. Psychological literature often refers to ego strength - a sureness about ourselves that rests calmly inside, the will to actualize our dreams, or stand fast to our beliefs without worrying about the consequences. By contrast, the rigid or inflated ego is concrete and dualistic - right-wrong, good-bad, friend-foe...It believes the stories we've made up are reality and doesn't realize that they are only the cover over our essence...To deflect fear, the inflated ego dons a mask and becomes artificial in relationships...This leaves us a stranger to ourself and the person we are meeting. In fact, there has been no authentic connection; it's only our personas that have met.

I have taken a different approach. One that I hope is more easily accessible to the reader’s emotional imagination, though less analytically systematic. I have summoned back into life again—through my own translations from a selection of popular Chinese novel sand poems—some of the imagined worlds in which Chinese have passed their daily reality during the last two hundred years. I have tried to convey something of what it felt like to be a Chinese, living in Chinese society, in different settings of status, age, and gender, and how this has changed over time. For reasons of method, I have looked at a small number of organically coherent emotional spaces, contained in individual works or parts of works, and considered them in detail. ... It would be pretending to more wisdom than I have to claim that the selection I have made is the result of a rigorous intellectual winnowing process from a harvest of widespread reading in late-imperial and modern Chinese literature. Honesty compels the admission that it is more the outcome of chance, serendipity, and whatever happened to catch my imagination, for reasons that I am probably in no position to do more than guess at. ... In so far as there has been a guiding principle behind my choices it has been the desire to show as much as the constraints of space allow of the contrasts among those in different social position, different periods, and different ideologies.

There are two fundamentally different ways for the strong to bend down to the weak, for the rich to help the poor, for the more perfect life to help the “less perfect.” This action can be motivated by a powerful feeling of security, strength, and inner salvation, of the invincible fullness of one’s own life and existence. All this unites into the clear awareness that one is rich enough to share one’s being and possessions. Love, sacrifice, help, the descent to the small and the weak, here spring from a spontaneous overflow of force, accompanied by bliss and deep inner calm. Compared to this natural readiness for love and sacrifice, all specific “egoism,” the concern for oneself and one’s interest, and even the instinct of “self-preservation” are signs of a blocked and weakened life. Life is essentially expansion, development, growth in plenitude, and not “self-preservation,” as a false doctrine has it. Development, expansion, and growth are not epiphenomena of mere preservative forces and cannot be reduced to the preservation of the “better adapted.” ... There is a form of sacrifice which is a free renunciation of one’s own vital abundance, a beautiful and natural overflow of one’s forces. Every living being has a natural instinct of sympathy for other living beings, which increases with their proximity and similarity to himself. Thus we sacrifice ourselves for beings with whom we feel united and solidary, in contrast to everything “dead.” This sacrificial impulse is by no means a later acquisition of life, derived from originally egoistic urges. It is an original component of life and precedes all those particular “aims” and “goals” which calculation, intelligence, and reflection impose upon it later. We have an urge to sacrifice before we ever know why, for what, and for whom! Jesus’ view of nature and life, which sometimes shines through his speeches and parables in fragments and hidden allusions, shows quite clearly that he understood this fact. When he tells us not to worry about eating and drinking, it is not because he is indifferent to life and its preservation, but because he sees also a vital weakness in all “worrying” about the next day, in all concentration on one’s own physical well-being. ... all voluntary concentration on one’s own bodily wellbeing, all worry and anxiety, hampers rather than furthers the creative force which instinctively and beneficently governs all life. ... This kind of indifference to the external means of life (food, clothing, etc.) is not a sign of indifference to life and its value, but rather of a profound and secret confidence in life’s own vigor and of an inner security from the mechanical accidents which may befall it. A gay, light, bold, knightly indifference to external circumstances, drawn from the depth of life itself—that is the feeling which inspires these words! Egoism and fear of death are signs of a declining, sick, and broken life. ... This attitude is completely different from that of recent modern realism in art and literature, the exposure of social misery, the description of little people, the wallowing in the morbid—a typical ressentiment phenomenon. Those people saw something bug-like in everything that lives, whereas Francis sees the holiness of “life” even in a bug.

In short, it was entirely natural that the newts stopped being a sensation, even though there were now as many as a hundred million of them; the public interest they had excited had been the interest of a novelty. They still appeared now and then in films (Sally and Andy, the Two Good Salamanders) and on the cabaret stage where singers endowed with an especially bad voice came on in the role of newts with rasping voices and atrocious grammar, but as soon as the newts had become a familiar and large-scale phenomenon the problems they presented, so to speak, were of a different character. (13) Although the great newt sensation quickly evaporated it was replaced with something that was somewhat more solid - the Newt Question. Not for the first time in the history of mankind, the most vigorous activist in the Newt Question was of course a woman. This was Mme. Louise Zimmermann, the manager of a guest house for girls in Lausanne, who, with exceptional and boundless energy, propagated this noble maxim around the world: Give the newts a proper education! She would tirelessly draw attention both to the newts' natural abilities and to the danger that might arise for human civilisation if the salamanders weren't carefully taught to reason and to understand morals, but it was long before she met with anything but incomprehension from the public. (14) "Just as the Roman culture disappeared under the onslaught of the barbarians our own educated civilisation will disappear if it is allowed to become no more than an island in a sea of beings that are spiritually enslaved, our noble ideals cannot be allowed to become dependent on them," she prophesied at six thousand three hundred and fifty seven lectures that she delivered at women's institutes all over Europe, America, Japan, China, Turkey and elsewhere. "If our culture is to survive there must be education for all. We cannot have any peace to enjoy the gifts of our civilisation nor the fruits of our culture while all around us there are millions and millions of wretched and inferior beings artificially held down in the state of animals. Just as the slogan of the nineteenth century was 'Freedom for Women', so the slogan of our own age must be 'GIVE THE NEWTS A PROPER EDUCATION!'" And on she went. Thanks to her eloquence and her incredible persistence, Mme. Louise Zimmermann mobilised women all round the world and gathered sufficient funds to enable her to found the First Newt Lyceum at Beaulieu (near Nice), where the tadpoles of salamanders working in Marseilles and Toulon were instructed in French language and literature, rhetoric, public behaviour, mathematics and cultural history. (15) The Girls' School for Newts in Menton was slightly less successful, as the staple courses in music, diet and cookery and fine handwork (which Mme. Zimmermann insisted on for primarily pedagogical reasons) met with a remarkable lack of enthusiasm, if not with a stubborn hostility among its young students. In contrast with this, though, the first public examinations for young newts was such an instant and startling success that they were quickly followed by the establishment of the Marine Polytechnic for Newts at Cannes and the Newts' University at Marseilles with the support of the society for the care and protection of animals; it was at this university that the first newt was awarded a doctorate of law.

He told his story through autobiographies that garnered him wide acclaim (and a warrant for his life—as we know, he fled to Britain to escape capture and a return to slavery). My Bondage and My Freedom (1855) sold 5,000 copies in the first two days. 43 John Whittier was not alone in considering it the headwaters of a “new, truly national literature.” 44 Yet Douglass knew that the key to change lies in the literature of thought pictures we carry born out of contrast. “Poets, prophets and reformers are all picture makers—and this ability is the secret of their power and of their achievements,” he said. “They see what ought to be by the reflection of what is, and endeavor to remove the contradiction.” 45 This penetrating vision went far beyond a theory of our response to pictures. It described the chrysalis nature of becoming.

The coexistence of these two sharply contrasting personalities within the same individual is as apparent in literature as in life: Dorian Gray, the handsome, witty, man-about-town, keeps his portrait hidden where no one can see it, for it bears all the features of his vicious secret life; Dr Jekyll and Mr Hyde are the same man, by turns respectable physician and monstrous ogre; the popular TV personality with the compassionate manner and caring smile can be a hysterical termagant at home with her family.

Taking advantage of the privilege of reading is an apt starting point in the developmental process of declaring a living philosophy. A perceptive reader takes into account what the author says, rolls that material around in their brain, contrast what the author said in comparison to what other knowledgeable people wrote, and examines each writer’s variegated utterances based upon the reader’s own accumulation of real life experiences. In order to appreciate great literature, a person must endure an active personal engagement in the real world. We must acquire a clutch of hands-on experiences and reflect upon this well of vetted information in order to gain a modicum of intelligent discernment.

Genesis 1 sits in stark contrast to that dark mythological polytheism. The biblical account has as its chief purpose to glorify the one Creator God who is the sole God of all reality. The water at creation (1:2) is certainly no deity, and it is not God’s foe that needs to be vanquished. It is mere putty in the hands of the Creator. There is no war between Yahweh and the gods of chaos in order to bring about creation. Yahweh is sovereign, and all the elements of creation are at his beck and call. Again, Genesis 1–2 is ardently zealous for monotheism. Not only does this literature not allow the inclusion of other gods; it stridently argues against them with clear polemics.

Polemical theology certainly does not answer every question about the relationship of the Old Testament to ancient Near Eastern literature and life. There is much to that relationship that simply cannot be understood and explained by the use of polemics. At times, however, polemical theology can serve as a solid and reliable interpretive lens by which one can properly see the significance of a parallel. In addition, and of utmost importance, is the truth that the biblical writers often employed polemical theology as an instrument to underscore the uniqueness of the Hebrew worldview in contrast to other ancient Near Eastern conceptions of the universe and how it operates.

let us start by picturing the Japan archipelago lying in the sea by the Chinese mainland. If its proximity allowed it to become part of the Sinosphere and acquire a written culture, its distance benefited the development of indigenous writing. The Dover Strait, separating England and France, is only 34 kilometers (21 miles) wide. A fine swimmer can swim across it. In contrast, the shortest distance between Japan and the Korean Peninsula is five or six times greater, and between Japan and the Chinese mainland, twenty-five times greater. The current, moreover, is deadly. . . . Japan's distance from China gave it political and cultural freedom and made possible the flowering of its own writing.

None of these systems, whether “natural” or man-made, can operate without a continuous supply of energy and resources that have to be transformed into something “useful.” Appropriating the concept from biology, I shall refer to all such processes of energy transformation as metabolism. Depending on the sophistication of the system, these outputs of useful energy are allocated between doing physical work and fueling maintenance, growth, and reproduction. As social human beings and in marked contrast to all other creatures, the major portion of our metabolic energy has been devoted to forming communities and institutions such as cities, villages, companies, and collectives, to the manufacture of an extraordinary array of artifacts, and to the creation of an astonishing litany of ideas ranging from airplanes, cell phones, and cathedrals to symphonies, mathematics, and literature, and much, much more. However, it’s not often appreciated that without a continuous supply of energy and resources, not only can there be no manufacturing of any of these things but, perhaps more important, there can be no ideas, no innovation, no growth, and no evolution. Energy is primary. It underlies everything that we do and everything that happens around us. As such, its role in all of the questions addressed will be another continuous thread that runs throughout the book. This may seem self-evident, but it is surprising how small a role, if any, the generalized concept of energy plays in the conceptual thinking of economists and social scientists.

The Coptic Achievement In vivid contrast, the Egyptian churches certainly did reach the hearts of their natives, and from early times. Even the name Copt is a corruption of Aigyptos—that is, native Egyptians, whose language descends from the tongue of the pyramid builders. (The word Aigyptos derives from the name of ancient Memphis, the city of Ptah.) When nineteenth-century scholars translated the hieroglyphics on the Rosetta Stone, they did so by using the language they found spoken in the liturgies of the Coptic church. Though Alexandrians wrote and thought in Greek, Coptic was from the earliest years a sophisticated language of Christian literature and theology, making it easy to spread the faith among ordinary Egyptians. The famous Nag Hammadi collection of alternative scriptures, probably written in the fourth century, is in Coptic.

In stark contrast, almost all the literature in the first 150 years or so focused on what could be called the Character Ethic as the foundation of success—things like integrity, humility, fidelity, temperance, courage, justice, patience, industry, simplicity, modesty, and the Golden Rule.

One feature of succession true of many different environments is a difference in resource use between earlier and later seres. Species characteristic of earlier seral stages tend to maximize control of resources and production of biomass, even at the cost of inefficiency; thus, such species tend to maximize production and distribution of offspring even when this means the great majority of offspring fail to reach reproductive maturity. Species typical of later seres, by contrast, tend to maximize the efficiency of their resource use, even at the cost of limits to biomass production and the distribution of individual organisms; thus, these species tend to maximize energy investment in individual offspring even when this means that offspring are few and the species fails to occupy all available niche spaces. Species of the first type, termed “R-selected” species in the ecological literature, have specialized to flourish opportunistically in disturbed environments, while those of the second type, or “K-selected” species, have specialized to form stable biotic communities that change only with shifts in the broader environment.

The Cuban missile crisis in other words was a mistake one for which leaders in all three countries must share the blame, which contrasts the traditional interpretation of the missile crisis in American literature as a nefarious Soviet Union that blindsided and innocent united states.

If you will review the hefty technical literature on ginkgo, you will find experimental evidence that it increases blood flow throughout the body, especially in the head. It has been shown to be an effective and nontoxic treatment for disorders of hearing and equilibrium due to impaired circulation to the ear and for deficits of memory and mental function due to impaired blood supply to the brain. Its lack of toxicity is in great contrast to pharmaceutical drugs used to treat these conditions.

The panoramic establishing shots, often arresting in their beauty, with which country noirs frequently open, serve only as an ironic contrast to the sordid dramas that unfold.

With those shared personal stories and our own valued experiences we all, sometimes unknowingly, have a unique quality to impress vast and contrasting individual footprints onto this world. You may not relate to me as a drag queen, or even a gay man for that matter. However if you take away that small portion of my life, you’ll soon discover that I’m just like someone who’s already a part of your life, that you’re close to. First and foremost, I am someone’s son, someone’s best friend, someone’s partner or someone who you may perhaps meet on the street one day, extending his hand to you when you need it the most, without judgment or hatred.

going back to Muslim writings in the Quran, the Sunna and Hadith literature, he has developed startling parallels between what the Bible tells us about “the Beast,” “the man of sin,” “the man of lawlessness,” that is, the Antichrist (I John 2:18) and what Muslim literature says about the Mahdi. Richardson’s book is groundbreaking in prophetic literature, as there are no other available books that study and contrast Muslim end times predictions and Biblical end times prophecies.

All really imaginative literature is only the contrast between the weird curves of Nature and the straightness of the soul. Man may behold what ugliness he likes if he is sure that he will not worship it; but there are some so weak that they will worship a thing only because it is ugly.

In Greek, the most significant area to which these curricula were reduced was the rudiments of Aristotelian logic. It is possible, for instance, to discern a major structural change in the medical curriculum in Alexandria toward the end of the sixth century, perhaps as a reaction to the decline of philosophical instruction in that last remaining center of Greek philosophical studies. ...The theological applications of philosophy in Greek patristic literature, by contrast, were many and longevous, though clearly harnessed to their theological, apologetic, and polemical goals rather than free philosophical discourse. In Syriac Christianity, as in Greek, there is a similar development of a logical curriculum, except that it was rather shorter: The Sasanian rulers actively endorsed a translation culture that viewed the transferral of Greek texts and ideas into Middle Persian as the “restitution” of an Iranian heritage that was allegedly pilfered by the Greeks after the campaigns of Alexander the Great.17 It was this cultural context, and the atmosphere of open debate fostered most energetically by Chosroes I Anushirwan (ruled 531–78), that must have prompted the Greek philosophers to seek refuge in his court after Justinian’s 529 edict prohibited them from teaching.

The idea of "sinlessness" as discussed in 1 John 3:1-10 has prompted enormous debate within the scholarly literature, with no end in sight and no consensus of opinion on the horizon. Some scholars have even thrown up their hands and resorted to arguing that the author has incorporated contradictory material in his sermon. I would caution from the outset that epideictic rhetoric is prone to involve dramatic statements and polar opposite contrasts with polemics, and we have already seen this in abundance in this sermon.'"` There is no reason to think that this discussion of sin and sinlessness is not following the same rhetorical rubrics.

While Mbembe warns that pan-Africanism, by contrast, has become “institutionalized and ossified” and can slip easily and dangerously into nativism, we can perhaps also see that its longer history of Africa-centered engagement creates a more stable foundation—which, unlike Afropolitanism, is less likely to be used for aesthetic purposes alone. Afropolitanism, it seems, is a portmanteau in more ways than one: it is a general brand of cosmopolitanism cloaked in African style, as well as a literal “coat hanger” for changing fashions. Hence Wainaina’s intervention, his exorcism of this ghost that several years ago could have perhaps been seen as a lively spirit. Where does literature fit into this debate?

In contrast to England, half of whose literature seems to revolve around houses and estates, houses and estates being ready extensions of character, America has always found more value in the act of leaving one house for something larger and ostensibly nicer. Fewer and fewer houses remain in a family for more than a generation. They are not passed down ["The Basement,” The Awl, Feb 5, 2015].

Eastern psychology, by contrast, offers us a long history of detailed observation and systematization of the range of human consciousness along with an enormous literature of practical methods for controlling and changing consciousness.

In Germany, there was a romantic tradition in literature and culture that took cities to be the cause of social ills, and the countryside as a purifying element. National Socialist ideology took this to extremes: Pure German values were rural values, realized in peasant life; the cities, by contrast, were sites of racial defilement, where pure Nordic blood was ruined by mixture with others. As Hitler writes in the second chapter of his unpublished Second Book:

The world separates. Night coagulates.

The vast majority of books on evangelical masculinity have been written by white men primarily for white men; to a significant degree, the markets for literature on black and white Christian manhood remain distinct. With few exceptions, black men, Middle Eastern men, and Hispanic men are not called to a wild, militant masculinity. Their aggression, by contrast, is seen as dangerous, a threat to the stability of home and nation.

My thesis here is that the climate of contemporary America has become so chronically anxious that our society has gone into an emotional regression that is toxic to well-defined leadership. This regression, despite the plethora of self-help literature and the many well-intentioned human rights movements, is characterized principally by a devaluing and denigration of the well-differentiated self. It has lowered people’s pain thresholds, with the result that comfort is valued over the rewards of facing challenge, symptoms come in fads, and cures go in and out of style like clothing fashions. Perhaps most important, however, is this: in contrast to the Renaissance spirit of adventure that was excited by encounter with novelty, American civilization’s emotional regression has perverted the élan of risk-taking discovery and pioneering that originally led to the foundations of our nation. As a result, its fundamental character has instead been shaped into an illusive and often compulsive search for safety and certainty. This is occurring equally in parenting, medicine, and management. The anxiety is so deep within the emotional processes of our nation that it is almost as though a neurosis has become nationalized.

he main point is that Conrad realistically described the terrible things done by Belgians in the Congo. Hochschild certainly wishes this was Conrad’s purpose. He repeats an old theory that Kurtz was based on the EIC officer Léon Rom whom Conrad “may have met” in 1890 and “almost certainly” read about in 1898. Visitors noted that Rom’s garden was decorated with polished skulls buried in the ground, the garden gnomes of the Congo then. But Kurtz’s compound has no skulls buried in the ground but rather freshly severed “heads on the stakes” that “seemed to sleep at the top of that pole.” As the British scholar Johan Adam Warodell notes, none of the “exclusively European prototypes” for Kurtz advanced by woke professors and historians followed this native mode of landscape gardening. By contrast, dozens of accounts of African warlords and slavers in the Congo published before 1898 described rotting heads on poles (“a wide-reaching area marked by a grass fence, tied to high poles, which at the very top were decorated with grinning, decomposing skulls,” as one 1888 account had it). Far from being “one of the most scathing indictments of [European] imperialism in all literature,” as Hochschild declares it, Heart of Darkness is one of the most scathing indictments of the absence of European imperialism in all literature. Kurtz is a symbol of the pre-colonial horrors of the Congo, horrors that the EIC, however fitfully, was bringing to an end.

Within the Atlantic archipelago, there is a persistent idea that Ireland, Scotland and Wales are qualitatively different from England, that they are inherently and permanently 'Celtic' in spite of modern realities, and that nations of the 'Celtic Fringe' (a term which places England at the centre and places the 'Celtic nations' at the periphery) share some vague spiritual or racial bond.

For TZN, nonsense in Zen is understood in the most positive of terms on a metaphysical level rising above and standing beyond the contrast and conflict between sense and senselessness. Nonsense is a tool skillfully used to help put an end to seeking a path of reason and to point to an enlightened state unbound by the polarity of logic or illogic. For the dissolution thesis, on the other hand, the endless wordplay in Zen literature represents an infantile stammering and the willful abandonment of meaning, and is a kind of verbal cunning and trickery that harbors risky ethical (i.e., antinomian) consequences. Here we find clearly the roots of the critique of Zen's failure to negotiate human rights issues, which seems to rest on a tendency toward deceptive, duplicitous rhetoric that avoids being pinned down or committed to any particular view or decision.

I have often wondered why nineteenth-century French novelists were so often obsessed with painters and painting, while in the 1700s Diderot was the only writer of his generation to take an interest in art criticism. What a striking contrast that not one well-known novelist of the 1800s failed to include a painter as a character in his work. This is fair enough for Balzac and Zola, who had ambitions to bring every aspect of society to life, but read Stendhal, Flaubert, the Goncourt brothers, Anatole France, Huysmans, Maupassant, Mirbeau, and of course Proust, and you enter a world in which painting is surprisingly important. What is more, all these novelists explored not only how a painter sees things but also how he looks at them, and this produced a new way of writing. “I would just have liked to see you dismantle the mechanism of my eye. I enhance the image, that much is sure, but I don’t enhance it as Balzac does, any more than Balzac enhances it as Hugo does,” Émile Zola told his protégé Henry Céard, highlighting the visual nature of novels at the time. This was essentially a French phenomenon; it has no real equivalent in England, Germany, or Russia. In the United States, it was not until the end of the century that painting became a literary subject in the work of Henry James. In England, Woolf would be the first to write about the influence painting had on literature. Why the sudden, widespread interest in France? I believe that this new way of seeing and writing was facilitated by the creation of museums in France after the French Revolution. Frequent long visits to the Louvre gave a whole cohort of young writers a genuine knowledge of painting, a shared language with their painter friends, and a desire to enrich their own works with this newly acquired erudition. The visual novel dates from this period.

The world can be validly construed as forum for action, or as place of things. The former manner of interpretation – more primordial, and less clearly understood – finds its expression in the arts or humanities, in ritual, drama, literature, and mythology. The world as forum for action is a place of value, a place where all things have meaning. This meaning, which is shaped as a consequence of social interaction, is implication for action, or – at a higher level of analysis – implication for the configuration of the interpretive schema that produces or guides action. The latter manner of interpretation – the world as place of things – finds its formal expression in the methods and theories of science. Science allows for increasingly precise determination of the consensually validatable properties of things, and for efficient utilization of precisely-determined things as tools (once the direction such use is to take has been determined, through application of more fundamental narrative processes). No complete world-picture can be generated, without use of both modes of construal. The fact that one mode is generally set at odds with the other means only that the nature of their respective domains remains insufficiently discriminated. Adherents of the mythological world-view tend to regard the statements of their creeds as indistinguishable from empirical “fact,” even though such statements were generally formulated long before the notion of objective reality emerged. Those who, by contrast, accept the scientific perspective – who assume that it is, or might become, complete – forget that an impassable gulf currently divides what is from what should be.

Licona elaborates: The manuscript support for our present critical Greek text of the New Testament is superior to what we have for any of the ancient literature. As of the time I am writing this chapter, there are 5,839 Greek manuscripts of the New Testament. A dozen or so of these manuscripts have been dated to have been written within 150 years of the originals, and the earliest (P 52) has been dated to within ten to sixty years of the original. In contrast, of the nine Lives of Plutarch … only a few dozen Greek manuscripts have survived. The earliest of these is dated to the tenth or eleventh century, or roughly eight to nine hundred years after Plutarch wrote them.

Sometimes men envisioned a feminine muse who inspired them to poetry, literature, art, or refined sensibility. Women, by contrast, often imagined the soul as a masculine presence that provided wisdom and strength.

Poetry and Genre The hallmark of rhetoric in ancient Near Eastern literature is repetition; in poetry, this takes the form of what scholars call “parallelism.” Frequently, the first line of a verse is echoed in some way by the second line. The second line might repeat the substance of the first line with slightly different emphasis, or perhaps the second line amplifies the first line in some fashion, such as drawing a logical conclusion, illustrating or intensifying the thought. At times the point of the first line is reinforced by a contrast in the second line. Occasionally, more than two lines are parallel. Each of these features, frequently observed in Biblical psalms, is represented in songs from Egypt, Mesopotamia and Ugarit. Unlike English poetry, which often depends on rhyme for its effect, these ancient cultures attained impact on listeners and readers with creative repetition. Psalms come in several standard subgenres, each with standard formal elements. Praise psalms can be either individual or corporate. Over a third of the psalms in the Psalter are praise psalms. Corporate psalms typically begin with an imperative call to praise (e.g., “Shout for joy to the LORD” [Ps 100:1]) and describe all the good things the Lord has done. Individual praise often begins with a proclamation of intent to praise (e.g., “I will praise you, LORD” [Ps 138:1]) and declare what God has done in a particular situation in the psalmist’s life. Mesopotamian and Egyptian hymns generally focus on descriptive praise, often moving from praise to petition. Examples of the proclamation format can be seen in the Mesopotamian wisdom composition, Ludlul bel nemeqi. The title is the first line of the piece, which is translated “I will praise the lord of wisdom.” As in the individual praise psalms, this Mesopotamian worshiper of Marduk reports about a problem that he had and reports how his god brought him deliverance. Lament psalms may be personal statements of despair (e.g., Ps 22:1–21, dirges following the death of an important person (cf. David’s elegy for Saul in 2Sa 1:17–27) or communal cries in times of crisis (e.g., Ps 137). The most famous lament form from ancient Mesopotamia is the “Lament Over the Destruction of Ur,” which commemorates the capture of the city in 2004 BC by the Elamite king Kindattu. For more information on this latter category, see the article “Neo-Sumerian Laments.” In the book of Psalms, more than a third of the psalms are laments, mostly by an individual. The most common complaints concern sickness and oppression by enemies. The lament literature of Mesopotamia is comprised of a number of different subgenres described by various technical terms. Some of these subgenres overlap with Biblical categories, but most of the Mesopotamian pieces are associated with incantations (magical rites being performed to try to rid the person of the problem). Nevertheless, the petitions that accompany lament in the Bible are very similar to those found in prayers from the ancient Near East. They include requests for guidance, protection, favor, attention from the deity, deliverance from crisis, intervention, reconciliation, healing and long life. Prayers to deities preserved

In stark contrast, almost all the literature in the first 150 years or so focused on what could be called the Character Ethic as the foundation of success—things like integrity, humility, fidelity, temperance, courage, justice, patience, industry, simplicity, modesty, and the Golden Rule. Benjamin Franklin’s autobiography is representative of that literature. It is, basically, the story of one man’s effort to integrate certain principles and habits deep within his nature.

When this story opens at the birth of Christ, the European landscape was marked by extraordinary contrasts. The circle of the Mediterranean, newly united under Roman imperial domination, hosted a politically sophisticated, economically advanced and culturally developed civilization. This world had philosophy, banking, professional armies, literature, stunning architecture and rubbish collection. Otherwise, apart from some bits west of the Rhine and south of the Danube which were already beginning to march to the tune of a more Mediterranean beat, the rest of Europe was home to subsistence-level farmers, organized in small-scale political units. Much of it was dominated by Germanic-speakers, who had some iron tools and weapons, but who worked generally in wood, had little literacy and never built in stone. The further east you went, the simpler it all became: fewer iron tools, less productive agricultures and a lower population density. This was, in fact, the ancient world in western Eurasia: a dominant Mediterranean circle lording it over an undeveloped northern hinterland. Move forward a thousand years, and the world had turned. Not only had Slavic-speakers replaced Germanic-speakers as the dominant force over much of barbarian Europe, and some Germanic-speakers replaced Romans and Celts in some of the rest, but, even more fundamentally, Mediterranean dominance had been broken. Politically, this was caused by the emergence of larger and more solid state formations in the old northern hinterland, as exemplified by the Moravians, but the pattern was not limited to politics. By the year 1000, many of the Mediterranean's cultural patterns - not least Christianity, literacy and building in stone - were also spreading north and east. Essentially, patterns of human organization were moving towards much greater homogeneity right across the European landmass. It was these new state and cultural structures that broke for ever the ancient world order of Mediterranean domination. Barbarian Europe was barbarian no longer. The ancient world order had given way to cultural and political patterns that were more directly ancestral to those of modern Europe.

The question I want to begin with is impossibly overdetermined – it is the question of why we are so afraid. The particular answer I will trace out derives from my increasing belief that Gothic literature in the nineteenth and twentieth centuries is more than a phenomenon of Anglo-American life. It is a project. To explain and explore this notion, I want to offer a contribution to one of the longest on-going enterprises in fiction studies – the attempt to define the nature of the Gothic in literature. Nearly two hundred years ago, vexed reviewers struggled to explain the amazing, perverse, inescapable, loathsome, irresistible phenomenon of The Monk, by contrasting the narrative strategies of Matthew Gregory Lewis and Ann Radcliffe. From the controversy over the Monk came the first tools for defining Gothic fiction: the distinction between terror and horror. The inadequacy of these useful terms has driven students of the Gothic for the past two centuries to offer other terms, to devise other distinctions. A distinction common in recent Gothic studies is my starting point. Critics frequently create a binary opposition between inside and outside, between Gothic as an exploration of the unconscious and Gothic as a concern for and even an intervention in social reality. In refusing this bogus binary of Freud versus Marx, I want to define a Gothic praxis that involves – necessarily – the interplay of psychological and social forces. This interplay has determined both the title and the subtitle of my essay. My title, the nurture of the Gothic, plays obviously on the phrase already old by John Ruskin’s time – the nature of the Gothic – because I believe the nature of the Gothic is to nurture. This belief derives from what I take to be a basic fact of communal life: that societies inflict terrible wounds upon themselves and at the same time develop mechanisms that can help heal these wounds. Gothic fiction from the later eighteenth century to the present is one such mechanism. Not consciously and yet purposively, Anglo-American culture develops Gothic in order to help heal the damage caused by our embrace of modernity. Thus my title: Gothic’s nature is the psycho-social function of nurture; its project is to heal and transform. To define this healing process, I will begin with the work of a physician, the British paediatrician and psychoanalyst, D.W. Winnicott. His notions of potential space, transitional objects and play will help me produce a general definition of Gothic that I can then historicise and contextualise, drawing upon such thinkers as Michel Foucault, Michael Taussig, Ross Chambers, and Peter Stallybrass and Allon White. This will bring me to the question posed in my subtitle – how can a text be both popular and subversive? Why do we hug closest that which threatens us most? This is another way of asking, how does Gothic nurture? Which is another way of asking, why are we so afraid?

the constant presence of her mother’s regretful bewilderment was less painful to Maggie than that of her father’s sullen, incommunicative depression. As long as the paralysis was upon him, and it seemed as if he might always be in a childlike condition of dependence — as long as he was still only half awakened to his trouble — Maggie had felt the strong tide of pitying love almost as an inspiration, a new power, that would make the most difficult life easy for his sake; but now, instead of childlike dependence, there had come a taciturn, hard concentration of purpose, in strange contrast with his old vehement communicativeness and high spirit; and this lasted from day to day, and from week to week, the dull eye never brightening with any eagerness or any joy. It is something cruelly incomprehensible to youthful natures, this sombre sameness in middle-aged and elderly people, whose life has resulted in disappointment and discontent, to whose faces a smile becomes so strange that the sad lines all about the lips and brow seem to take no notice of it, and it hurries away again for want of a welcome. “Why will they not kindle up and be glad sometimes?” thinks young elasticity. “It would be so easy if they only liked to do it.” And these leaden clouds that never part are apt to create impatience even in the filial affection that streams forth in nothing but tenderness and pity in the time of more obvious affliction.

The possibility of ethical relation-in contrast to that of the lawful yet unethical theology of the slavocracy — existed in hoodoo. Hoodoo was direct: Do what you were supposed to do, and the natural world would yield accordingly, unless some other root work or conjuring — at the hands of some other person — was at work. Then you might be thwarted. And it could be by anyone. If religion was imperial, hoodoo was insurgent. There is no simple distinction between spirit and medicine, nor between literature and ritual in hoodoo.