Deus Ex Machina Quotes

...This particular blunder is known as deus ex machina, which is French for "Are you fucking kidding me?

I need some kind of... like... last minute, poorly-set-up deus ex machina!!

At a certain point, we have to stop ‘play time,’ start ‘construction time’ and get things going, instead of getting mired down in the quicksand of wishful thinking, clutching desperately to imaginary ‘dei ex machina.’ (" Swim or sink")

A deus ex machina will never appear in real life so you best make other arrangements.

...This type of ending is a special instance of deus ex machina, known as the folie adieu, which is French for "Are you FUCKING kidding me?

Deus ex machina not only erases all meaning and emotion, it's an insult to the audience. Each of us knows we must choose and act, for better or worse, to determine the meaning of our lives...Deus ex machina is an insult because it is a lie.

Jolly Jay rested the Louisville Slugger on his shoulder, as if he were Thor or some other god-like warrior who had come down from the heavens to our Deus ex machina rescue.

A bunch of different people appear, and they’ve got their own situations and reasons and excuses, and each one is pursuing his or her own brand of justice or happiness. As a result, nobody can do anything. Obviously. I mean, it’s basically impossible for everybody’s justice to prevail or everybody’s happiness to triumph, so chaos takes over. And then what do you think happens? Simple – a god appears in the end and starts directing traffic. “You go over there, and you come here, and you get together with her, and you just sit still for a while.” Like that. He’s kind of a fixer, and in the end everything works out perfectly. They call this ‘deus ex machina.

Something I learned very quickly was that grieving was complicated by lack of certainty, that the hope inherent in a missing loved one was also a species of curse. People posted about children who had gone missing upwards of fifteen years ago and whose faces were now impossible to conjure, about friends who had messaged to confirm a meeting place and then simply never showed up. In almost every case, the sense of loss was convoluted by an ache of possibility, by the almost-but-not-quite-negligible hope of reprieve. Deus ex machina – the missing loved one thrown back down to earth. Grief is selfish: we cry for ourselves without the person we have lost far more than we cry for the person – but more than that, we cry because it helps. The grief process is also the coping process and if the grief is frozen by ambiguity, by the constant possibility of reversal, then so is the ability to cope.

It's stupid, I know, but I care. All the things that meant so much when we were young. Under the blankets late at night, listening to long-distance radio. All those things lost now or broken. Can you remember? Can you remember that feeling? Perhaps I ought to go to a doctor.

Animal Man: 'Listen, just tell me one thing: am I REAL or what?' Grant Morrison: 'Of COURSE you're real! We wouldn't be here talking if you weren't real. 'You existed long before I wrote about you and, if you're lucky, you'll still be young when I'm old or dead. 'You're more real than I am.

I am not a fan of the magical quick fix in any fiction, including fantasy, scifi and comic books. Unless Dr. Who is involved, and then only because we get to use the phrase 'Timey-wimey wibbliness' which, I'm sure you'll agree, there are not enough occasions to drop into ordinary adult conversation.

Robarle muertes al Destino es como quitarle cartas a un castillo de naipes en un día de viento... Cuidado con las mariposas, sus alas despiertan huracanes".

Nothing is more frustrating than sitting in an office amid typewriters and mimeographers when you know what deus ex machina means.

Satan says, offering the next temptation. “If God exists, He will surely save you. If you are in fact his Son, God will surely save you.” Why would God not make Himself manifest, to rescue His only begotten Child from hunger and isolation and the presence of great evil? But that establishes no pattern for life. It doesn’t even work as literature. The deus ex machina—the emergence of a divine force that magically rescues the hero from his predicament—is the cheapest trick in the hack writer’s playbook. It makes a mockery of independence, and courage, and destiny, and free will, and responsibility. Furthermore, God is in no wise a safety net for the blind. He’s not someone to be commanded to perform magic tricks, or forced into Self-revelation—not even by His own Son.

Cuidado con las mariposas, sus alas despiertan huracanes…

...no matter how beneficial a disappearing act might be for me, I could never tear myself away from a show in progress. Even when the plot's tragic ending is apparent to the entire audience. Perhaps there's a deus ex machina that will lower from the ceiling and turn the whole debacle into a romantic comedy. never can tell. Paid the full ticket price, might as well stay.

The Deus ex Machina should be employed only for events external to the drama, — for antecedent or subsequent events, which lie beyond the range of human knowledge, and which require to be reported or foretold; for to the gods we ascribe the power of seeing all things.

El corazón nunca mide lo que arriesga, siempre lo apuesta todo

Un Deus ex machina es la caballería que aparece en el último momento en una película del oeste

If novelists truly wanted to simulate the delta of lfe's possibilities, this is what they'd do. At the back of the book would be a set of sealed envelopes in various colours. Each would be clearly marked on the outside: Traditional Happy Ending; Traditional Unhappy Ending; Traditional Half-and-Half Ending; Deus ex Machina; Modernist Arbitrary Ending; End of the World Ending; Cliffhanger Ending; Dream Ending; Opaque Ending; Surrealist Ending; and so on. You would be allowed only one, and would have to destroy the envelopes you didn't select.

»¡Sería tan cómodo que existiera un deus ex machina en el mundo real! ¿No le parece? Cuando alguien pensara: “¿Y ahora qué hago? ¡Estoy atrapado!”, un dios bajaría deslizándose desde lo alto y lo resolvería todo. Nada podría ser más fácil.

Readers tend to tolerate such "accidents"... when they get the characters into trouble but they're less accepting when the author uses them to rescue people. The "deus ex machina"...in one stroke it renders meaningless all the efforts of the cast.

While some of his clerical opponents suggested that his proofs for God’s existence are so obviously bad that they must have been designed by a devious atheist to in fact undermine the belief in God’s existence, more secular-minded critics protested against Descartes’s resorting to God as a deus ex machina to solve an epistemological quandary, and they questioned the propriety of relying on matters of faith in what should be a project of rational inquiry.

If you could be any character on The Next Generation, who would you be?" "Easy," Solomon said. "Data. For sure." "That makes sense," Clark said. "You?" "I always liked Wesley Crusher." "What?" Solomon was appalled. "Nobody likes Wesley Crusher." "Why not?" Lisa asked. "Because he's a total Mary Sue," Solomon said. "He's too perfect." "But he's always saving the day," Clark argued. "Like, always." "Exactly. He's just a talking deus ex machina. Everybody on the ship treats him like a dumb kid, then he saves them at the last minute and, every single time, they go right back to treating him like a dumb kid again. Do I need to remind you that the starship Enterprise is full of genius scientists and engineers? Why's this kid who can't get into Starfleet Academy smarter than all of them?" "Good point," Clark said. "He's still my choice, though.

Robarle muertes al Destino es como quitarle cartas a un castillo de naipes en un día de viento

My sincere thanks to friends and family, especially my mother, father, brother, and Mandy, who continue to love and support me despite my obsessions.

It was a deus-ex-machina world!

Introduction of deus ex machina is a tell-tale sign of sloppy plotting.

deus ex machina.

Just as well,” he said. “We have one deus ex machina too many as it is.

deus ex machina

Deus ex machina,

Time and time again, as we will see, the brilliant forebears of modern neuroscience abandoned their fierce reasoning skills and, deus ex machina, threw in a spook at the end of their analysis.

You talk about deus ex machina, well, we're talking about deus in machina. You start by thinking there's a god in the box. And then you find there isn't anything in the box. You put the god in the box.

But think about it -what if there were a deus ex machina in real life? Everything would be so easy! If you felt stuck or trapped, some god would swing down from up there and solve all your problems. What could be easier than that?

But think about it - what if there were a deus ex machina in real life? Everything would be so easy! If you felt stuck or trapped, some god would swing down from up here and solve all your problems. What could be easier than that?

So this time something which might have been spoken was not, and the deus ex machina which might have descended to rescue a writer who had a date with a Dodge minivan on a late-spring day in the year of ’99 remained where it was, high above the mortals who acted their parts below.

(I’m a little sensitive to the subject of the deaths of aunts in my novels. Unkind critics have complained how I dispatch, or dispose of, the unlikable aunts in my fiction, but these critics never knew Aunt Abigail or Aunt Martha. Any deus ex machina device would not be too improbable for them.)

Looking on the bright side, let us remind ourselves of what has happened in the wake of earlier demystifications. We find no diminution of wonder; on the contrary, we find deeper beauties and more dazzling visions of the complexity of the universe than the protectors of mystery ever conceived. The 'magic' of earlier visions was, for the most part, a cover-up for frank failures of imagination, a boring dodge enshrined in the concept of a deus ex machina. Fiery gods driving golden chariots across the skies are simpleminded comic-book fare compared to the ravishing strangeness of contemporary cosmology, and the recursive intricacies of the reproductive machinery of DNA make élan vital about as interesting as Superman's dread Kryptonite. When we understand consciousness - when there is no more mystery - consciousness will be different, but there will still be beauty, and more room than ever for awe.

Me dijo que el batir de alas de una mariposa puede provocar un huracán al otro lado del mundo y me lo dijo para que entendiese que, si cambio demasiado el pasado, el futuro puede volverse inhabitable.

This is the plot up to the moment when the writer leaves the woman still dolefully enmeshed in it, and, suitcase in hand, tiptoeing so as not to disturb her postcoital rest, he himself slips silently out of the plot on the grounds of its general implausibility, a total lack of gravity, reliance at too many key points on unlikely coincidence, an absence of inner coherence, and not even the most tenuous evidence of anything resembling a serious meaning or purpose. The story so far is frivolously plotted, overplotted, for his taste altogether too freakishly plotted, with outlandish events so wildly careening around every corner that there is nowhere for intelligence to establish a foothold and develop a perspective. As if the look-alike at the story's storm center isn't farfetched enough, there is the capricious loss of the Smilesburger check (there is the fortuitous appearance of the Smilesburger check; there is Louis B. Smilesburger himself, Borscht Belt deus ex machina), which sets the action on its unconvincing course and serves to reinforce the writer's sense that the story has been intentionally conceived as a prank, and a nasty prank at that, considering the struggles of Jewish existence that are said to be at issue by his antagonist.

Let us end this farce, observer! Give me your final, most beloved act of "will"... The one you most wish to believe was your own idea! "My own... will... I... I believe that this love for Yukiteru-kun... is real!

God of the gaps” Christianity seeks to present Christianity as playing a strong savior role whereby it fills the gaps and provides the missing links for all of society’s questions and concerns. This entails the view of God riding into town and miraculously saving the day (deus ex machina). On this view, God delivers his people from their (and his) enemies—in Bonhoeffer’s case, the Nazis. In contrast, in Letters and Papers from Prison, Bonhoeffer writes that God allows us to push him out of the world and onto the cross.

Let us but realise the consequences of the Socratic maxims: "Virtue is knowledge; man only sins from ignorance; he who is virtuous is happy": these three fundamental forms of optimism involve the death of tragedy. For the virtuous hero must now be a dialectician; there must now be a necessary, visible connection between virtue and knowledge, between belief and morality; the transcendental justice of the plot in Æschylus is now degraded to the superficial and audacious principle of poetic justice with its usual deus ex machina.

The suspicion that something is structurally wrong with the vision of homo faber is common to a growing minority in capitalist, communist, and "underdeveloped" countries alike. This suspicion is the shared characteristic of a new elite. To it belong people of all classes, incomes, faiths, and civilizations. They have become wary of the myths of the majority: of scientific utopias, of ideological diabolism, and of the expectation of the distribution of goods and services with some degree of equality. They share with the majority the awareness that most new policies adopted by broad consensus consistently lead to results which are glaringly opposed to their stated aims. Yet whereas the Promethean majority of would-be spacemen still evades the structural issue, the emergent minority is critical of the scientific deus ex machina, the ideological panacea, and the hunt for devils and witches. This minority begins to formulate its suspicion that our constant deceptions tie us to contemporary institutions as the chains bound Prometheus to his rock. Hopeful trust and classical irony must conspire to expose the Promethean fallacy.

[Stoner] said you don't kill two women and just stop there. I disagreed. I told Bill he was unduly tied to cop empiricism. I said the San Gabriel Valley was this deus ex machina. The people who flocked there flocked there for unconscious reasons that superseded conscious application of logic and made anything possible. The region defined the crime. The region was the crime...The region explained it all. The unconscious San Gabriel Valley migration explained every absurd and murderous act that went down there. Our job was to pin point three people within that migration.

The ship did not respond to queries. Without the ship, there could be no fatline relay to the Ousters, the Web, or anywhere else beyond Hyperion. Normal comm bands were down. ‘Could the ship have been destroyed?’ Sol asked the Consul. ‘No. The message is being received, just not responded to. Gladstone still has the ship in quarantine.’ Sol squinted out over the barrens to where the mountains shimmered in the heat haze. Several klicks closer, the ruins of the City of Poets rose jaggedly against the skyline. ‘Just as well,’ he said. ‘We have one deus ex machina too many as it is.’ Paul

A bunch of different people appear, and they’ve all got their own situations and reasons and excuses, and each one is pursuing his or her own brand of justice or happiness. As a result, nobody can do anything. Obviously. I mean, it’s basically impossible for everybody’s justice to prevail or everybody’s happiness to triumph, so chaos takes over. And then what do you think happens? Simple—a god appears in the end and starts directing traffic. ‘You go over there, and you come here, and you get together with her, and you just sit still for a while.’ Like that. He’s kind of a fixer, and in the end everything works out perfectly. They call this ‘deus ex machina.

Deus ex machina not only erases all meaning and emotion, it's an insult to the audience. Each of us knows we must choose and act, for better or worse, to determine the meaning of our lives. No one and nothing coincidental will come along to take that responsibility from us, regardless of the injustices and chaos around us. You could be locked in a cell for the rest of your life for a crime you did not commit. But every morning you would still have to get up and make meaning. Do I bludgeon my brains against this wall or do I find some way to get through my days with value? Our lives are ultimately in our own hands. Deus ex machina is an insult because it is a lie.

The second solution is communitarianism, also baptised assimilation. It is a question of a compromise, inspired by the United States and rather unclear theories of intellectual ‘ethnopluralism’, Right-wing and Left-wing. People born abroad keep their ‘culture’, but adhere to a common ‘minimum’, a global Social Contract.[140] Society becomes a pacific kaleidoscope, united by a soft and pacifying deus ex machina.[141] This utopian vision, Rousseauian and adolescent, still defended by learned old fogies, who flirt just a little with apartheid (whence its partisans on the extreme Right) has been tried by all the European states. The result has been total failure. There has been no ‘assimilation’ of ‘ethnic communities’ cohabiting peacefully. On the contrary, ethnic civil war is just around the corner.

Passing from one dimension to another, he feels that nothing is left behind, but rather is always with him in the moment. His life is no more a myth than other man's, his needs much the same. The only price he pays for this exquisite singularity may be the intrusion of his fellow dreamers who sometimes call him on the telephone. They mean no harm. They too are innocent. Clarity is all any man seeks, this Somnambulist merely find his on the other Side.

This description of physiology—as the exquisite matching of form and function, down to the molecular level—dates back to Aristotle. For Aristotle, living organisms were nothing more than exquisite assemblages of machines. Medieval biology had departed from that tradition, conjuring up “vital” forces and mystical fluids that were somehow unique to life—a last-minute deus ex machina to explain the mysterious workings of living organisms (and justify the existence of the deus). But biophysicists were intent on restoring a rigidly mechanistic description to biology. Living physiology should be explicable in terms of physics, biophysicists argued—forces, motions, actions, motors, engines, levers, pulleys, clasps. The laws that drove Newton’s apples to the ground should also apply to the growth of the apple tree. Invoking special vital forces or inventing mystical fluids to explain life was unnecessary. Biology was physics. Machina en deus.

Euripides thought he observed that during these first scenes the spectator was in a strange state of anxiety to make out the problem of the previous history, so that the poetic beauties and pathos of the exposition were lost to him. Accordingly he placed the prologue even before the exposition, and put it in the mouth of a person who could be trusted: some deity had often[Pg 100] as it were to guarantee the particulars of the tragedy to the public and remove every doubt as to the reality of the myth: as in the case of Descartes, who could only prove the reality of the empiric world by an appeal to the truthfulness of God and His inability to utter falsehood. Euripides makes use of the same divine truthfulness once more at the close of his drama, in order to ensure to the public the future of his heroes; this is the task of the notorious deus ex machina. Between the preliminary and the additional epic spectacle there is the dramatico-lyric present, the "drama" proper.

Y allí en lo alto, contemplando aquella salvaje perspectiva, eligió A la siguiente mártir de la cruda causa De la concupiscencia. Una vez más, Con esa negra presteza innata, ató a su prisionera. Las hormigas —una fila de viajeras llegando y partiendo— Perseveraban en el rumbo marcado Sin inmutarse, sin el menor escrúpulo, Obedeciendo las órdenes de su instinto hasta ser barridas Del escenario e infamemente atadas, Liquidadas por aquel vigoroso deus Ex machina. Y ni siquiera eso parecía disuadirlas.

The hero, Admetus, is condemned to death by the Fates. But thanks to Apollo’s negotiating, he is offered a loophole – Admetus can escape death if he is able to persuade someone else to die for him. He proceeds to ask his mother and father to die in his place, and they refuse in no uncertain terms. It’s hard to know what to make of Admetus at this point. Not exactly heroic behaviour, by any standards, and the ancient Greeks must have thought him a bit of a twit. Alcestis is made of stronger stuff – she steps forward and volunteers to die for her husband. Perhaps she doesn’t expect Admetus to accept her offer – but he does, and Alcestis proceeds to die and depart for Hades. It doesn’t end there, though. There is a happy ending, of sorts, a deus ex machina. Heracles seizes Alcestis from Hades, and brings her triumphantly back to the land of the living. She comes alive again. Admetus is moved to tears by the reunion with his wife. Alcestis’s emotions are harder to read – she remains silent. She doesn’t speak.

I had, therefore, to resign myself to commissioning a duplicate from a jeweller in Madrid. They did the work very nicely. The claws are curiously shaped, but the true marvel is the stone; it is so very limpid and weighs many carats, but notice also how it is hollowed out! You see that drop of green oil which takes the place of the internal tear? It is a drop of poison, an Indian toxin which strikes so rapidly and so corrosively that it only requires to come into momentary contact with one of a man's mucous membranes to rob him of his senses and induce rigour mortis. 'It is instant death, certain but painless suicide, that I carry in this emerald. One bite' - and Ethal made as if to raise the ring to his lips - 'and with a single bound one has quit the mundane world of base instincts and crude works, to enter eternity. 'Look upon the truest of friends: a deus ex machina which defies public opinion and cheats the police of their prey...' He laughed briefly. 'After all, we live in difficult times, and today's magistrates are so very meticulous. Salute as I do, my dear friend, the poison which saves and delivers. It is at your service, if ever the day should come when you are weary of life!

language is no deus ex machina to account for philosophy.

Fortuna fortes adiuvat

The future self keeps being pushed into the future, like a deus ex machina 24 that will emerge to save us from our present selves in the very last act.

though she were another person, a deus ex machina

Year after year, bill after bill, Wilberforce spent his entire career introducing an endless series of legislative proposals to his colleagues in the British Parliament in his efforts to end slavery, only to have them defeated, one after the other. From 1788 to 1806, he introduced a new anti-slavery motion and watched it fail every single year, for eighteen years in a row. Finally the water wore down the rock: three days before Wilberforce’s death in 1833, Parliament passed a bill to abolish slavery not only in England but also throughout its colonies. Three decades later, a similar bill passed in the United States, spearheaded by another man of conscience who had also spent much of his life failing, a patient Illinois lawyer named Abraham. Deus ex machina? Far from it. These weren’t solutions that dropped out of the blue sky. They were the “sudden” result of long patient years of tireless repeated effort. There was no fictional deus ex machina happening here; these were human problems, and they had human solutions. But the only access to them was through the slight edge. Of course Wilberforce and Lincoln were not the sole figures in this heroic struggle, and even after their bills were passed into law on both sides of the Atlantic, the evils of slavery and racism were far from over. Rome wasn’t rehabilitated in a day, or even a century. But their efforts—like Mother Teresa’s efforts to end poverty, Gandhi’s to end colonial oppression, or Martin Luther King’s and Nelson Mandela’s to end racism—are classic examples of what “breakthrough” looks like in the real world. All of these real-life heroes understood the slight edge. None of them were hypnotized by the allure of the “big break.” If they had been, they would never have continued taking the actions they took—and what would the world look like today?

We are to do nothing, is that right, except to wait in quiet serenity and utter faith for the deus ex machina to pop out of the Vault?” “Stripped of your emotional phraseology, that’s the idea.” “Such unsubtle escapism! Really, Dr. Fara, such folly smacks of genius. A lesser mind would be incapable of it.” Fara smiled indulgently. “Your taste in epigrams is amusing, Hardin, but out of place.

To go back to the game metaphor from before, there exists a component of storytelling where it is you and the reader (or viewer, or whoever) sitting on opposite sides of a chessboard. You’re always trying to outwit each other. And sometimes you need them to outwit you—the audience needs that power, needs to be invested. They want to do work, and they want (sometimes) to be victorious. Other times, they want the shock of loss, the joy at being outplayed. And at those times you misdirect and distract, and as they’re thinking you’re moving your piece one way, you move it another and shock them with your prowess. But the trick is making all of this organic. It has to unfold naturally from the story—it’s not JUST you screwing with them. It’s you fucking with them within a framework that you built and agreed upon, a framework you’ve shown them, a place of rules and decorum. In this context, consider the game space. Like, say, a chessboard, or a D&D dungeon. The game space is an agreed-upon demesne. It has rules. It has squares. Each piece or character moves accordingly within those squares. It has a framework that everyone who has played the game understands. And yet, the outcome is never decided. The game is forever uncertain even within established parameters. Surprises occur. You might win. Maybe I win. That’s how storytelling operates best—we set up rules and a storyworld and characters, and you try to guess what we’re going to do with them. We as storytellers shouldn’t ever break the rules. Note: Breaking the rules in this context might mean conveniently leaving out a crucial storyworld rule (“Oh, vampires don’t have to drink blood; they can drink Kool-Aid”), or solving a mystery with a killer who the audience couldn’t ever have guessed (“It was the sheriff from two towns over who we have never before discussed or even mentioned”), or invoking a deus ex machina (“Don’t worry, giant eagles will save them. It’s cool”). You can still have chaos and uncertainty within the parameters—creating a framework, like building a house, doesn’t mean it cannot contain secrets and surprises—but you stay within the parameters that you created. Again, it’s why stage magic works as a metaphor when actual wizard magic does not. With stage magic—tricks and illusions!—you can’t really violate the laws of reality. But it damn sure feels like you do. Stories make you believe in wizard magic, but really it’s just a clever, artful trick. The storyworld is bent and twisted, but never broken. And, of course, your greatest touchstone for all of this is the characters, and their problems and places inside the storyworld. The characters will forever be your guide, if you let them. They are the tug-of-war rope, the chess pieces, the D&D characters that exist as a connection between you and the audience. They are your glorious leverage.

Dr Gwynne was the Deus ex machina who was to come down upon the Barchester stage, and bring about deliverance from these terrible evils. But how can melodramatic dénouements be properly brought about, how can vice and Mr Slope be punished, and virtue and the archdeacon be rewarded, while the avenging god is laid up with the gout?

The future self keeps being pushed into the future, like a deus ex machina 24 that will emerge to save us from our present selves in the very last act. We put off what we need to do because we are waiting for someone else to show up who will find the change effortless.

deus ex machina

Here's my watch. If I wind it, it marks time. It exists. It is alive. If the spring breaks, it stops. It no longer marks the hour. It is dead. Time does not exist for it. Same with you, when your main spring is gone.

For the first time in civilized history, perhaps for the first time in all of history, we have been forced to live with the suppressed knowledge that the smallest facets of our personality or the most minor projection of our ideas, or indeed the absence of ideas and the absence of personality could mean equally well that we might still be doomed to die as a cipher in some vast statistical operation in which our teeth would be counted, and our hair would be saved, but our death itself would be unknown, unhonored, and unremarked, a death which could not follow with dignity as a possible consequence to serious actions we had chosen, but rather a death by deus ex machina in a gas chamber or a radioactive city; and so if in the midst of civilization—that civilization founded upon the Faustian urge to dominate nature by mastering time, mastering the links of social cause and effect—in the middle of an economic civilization founded upon the confidence that time could indeed be subjected to our will, our psyche was subjected itself to the intolerable anxiety that death being causeless, life was causeless as well, and time deprived of cause and effect had come to a stop. The Second World War presented a mirror to the human condition which blinded anyone who looked into it.

Myth—God Will Rescue Me Following 40 days of fasting, Jesus was tempted three times by Satan. The second temptation is recorded in the New Testament as follows, “Then the devil taketh him up into the holy city, and setteth him on a pinnacle of the temple, And saith unto him, If thou be the Son of God, cast thyself down: for it is written, He shall give his angels charge concerning thee: and in their hands they shall bear thee up, lest at any time thou dash thy foot against a stone. Jesus said unto him, It is written again, Thou shalt not tempt the Lord thy God.”80 Satan’s temptation was an appeal to man’s desire to be miraculously delivered from the consequences of an action. We tend to seek divine intervention to rescue us from consequences with little or no effort on our part. This tendency was illustrated by Ancient Greek dramatists’ use of the “deus ex machina,” meaning “God from a machine.” This was a machine in which actors portraying the gods would suddenly be lowered on the scene to save the mortal characters from the consequences of their choices. Satan’s use of this temptation continues today and can easily be seen manifested by the student who fails to study and then prays for an “A” during the examination, or the person who violated the divine laws of health and then prays for deliverance from resulting sickness or the person who purchases an expensive plasma screen television and then prays for help to pay the rent. We also see this tendency manifested by those who have incurred larges amounts of debt and then seeks to be delivered from the bondage and obligation of repayment through bankruptcy, or those who seek deliverance from a disease of choice by taking a pill to treat the symptoms instead of changing the behavior that causes the symptoms. We should respond to such temptations as did the Savior by saying, “Thou shalt not tempt the Lord thy God.”81 We must accept responsibility, which is the willingness and ability to recognize and accept the consequences of our actions

MOST PEOPLE IN the West spend their time waiting for Godot, but of course he never comes. They also wait for the Messiah, but we know he always arrives a day too late. What is everyone waiting for? Divine intervention? The Deus ex machina that solves every problem? Don’t you get it? – no one’s ever coming. Ever. The world-historic figures, the men and women of destiny, aren’t waiting. They’re out doing things, being active, making things happen.

It seems to me also that Machiavel was rather unwise in placing Moses with Romulus, Cyrus and Theseus. Either Moses was inspired by God, or he was not. If he were not (which we cannot assume is true), then Moses was a mere tool of God, used as the poets employ a deus ex machina when they cannot create a believable outcome. If you continue to evaluate Moses as a mere human, he could not have been very skilful: he led the Jewish people down a forty-year path, which they very easily could have completed in six weeks.

Like, so many images of God, this one [Ps. 90 - our shelter from the stormy blast of time] is both true and limited. In Christian faith, God is immortal. God was before time, and God will outlast time. But God's immortality is not flexed as a command to human beings to fly away from time into something bitter. Nor is God a deus ex machina intent on plucking us out of everyday life and placing us in a realm of "nontime" somehow higher or better than what is available in the ordinariness of years, weeks, and days. Quite the contrary: it is within time itself that God meets us.

have learned not to steal my clients’ problems from them. I don’t want to be the redeeming hero or the deus ex machina—not in someone else’s story. I don’t want their lives.

deus ex machina.

Throw yourself off that cliff,” Satan says, offering the next temptation. “If God exists, He will surely save you. If you are in fact his Son, God will surely save you.” Why would God not make Himself manifest, to rescue His only begotten Child from hunger and isolation and the presence of great evil? But that establishes no pattern for life. It doesn’t even work as literature. The deus ex machina—the emergence of a divine force that magically rescues the hero from his predicament—is the cheapest trick in the hack writer’s playbook. It makes a mockery of independence, and courage, and destiny, and free will, and responsibility. Furthermore, God is in no ways a safety net for the blind. He’s not someone to be commanded to perform magic tricks, or forced into Self-revelation—not even by His own Son.

I like it. A Silicon Valley ghost story.

Si los ciudadanos confían ciegamente en la separación de poderes como un Deus ex machina capaz de constreñir por sí solo los abusos del Estado, podrían terminar socavando aquellas condiciones institucionales

I wondered if, fundamentally, the world was made up of people who either sought justice at the expense of redemption, or those who sought redemption at the expense of justice. To be honest, I was always a little bit disappointed when people reformed. Watching a bad person choose the straight and narrow path was the deus ex machina of real life.

Superheroes are supposedly great beings who rise to help humanity through its darkest hours. Who needs these preposterous figures? They are just the continuation of messianism by other means. Humanity needs to help itself and stop looking to fantasy beings to help it out. You will never resolve your problems while you are expecting a deus ex machina to bail you out.

The Christian God came, not as a deus ex machina to set everything externally in order, but as the Son of Man in order interiorly to share in the passion of mankind. And this, too, is precisely the task of the Christian: to share in the passion of mankind from within, to extend the sphere of human being so that it will find room for the presence of God.

People will be dying for the Deus ex Machina.

Do you know what deus ex machina means?” “Well, I think…” began Ben. “It’s Latin for ‘too lazy to think of a proper ending,’” said Leigh.

The dead's stories are lifted away from them; they are sentenced to an eternity as deus ex machina in the stories of others.

A deus ex machina climax should cause the reader to consider suing the author for storytelling fraud.

¿Qué es el Deus Ex Machina? Se denomina «Deus Ex Machina» a toda trama que se resuelve a través de un elemento, personaje o fuerza externa que no haya sido mencionado con anterioridad y nada tenga que ver con los personajes ni la lógica interna de la historia.

Пройдя мимо современного угрюмого здания Кафедры Техники, носящего у жаков название «Deus ex machina», он свернул к Мосту Гильденштерна.

Tolkien’s final necessary condition for a fairy tale is the joyful, consoling ending of the tale. But the “consolation” of fairy-tales has another aspect than the imaginative satisfaction of ancient desires. Far more important is the Consolation of the Happy Ending. Almost I would venture to assert that all complete fairy-stories must have it. At least I would say that Tragedy is the true form of Drama, its highest function; but the opposite is true of Fairy-story.22 The happy ending of fairy tales Tolkien christens “eucatastrophe” (or, a “good” catastrophe). This sudden “joyous turn” is what we find at the end of so many beloved fairy stories. Cinderella gets to go to the ball when the fairy godmother appears. The frog prince dies and is returned to human form. The woodcutter appears and saves Red Riding Hood. This consoling turn satisfies because it is happy, but also because it is miraculous. It is, in a sense, a “deus ex machina” ending. It provides an escape from the sadness of our own world by way of a kind of divine grace. As Tolkien writes, this happy ending is not mere optimism. It does not say that sorrow and death are unreal. Rather, as Tolkien sees it “the possibility of these [sad events] is necessary to the joy of deliverance.” What the eucatastrophe denies is that evil must prevail. In this way, again, fairy stories reflect a deeply Christian hope. Writes Tolkien, “[eucatastrophe] denies (in the face of much evidence, if you will) universal final defeat and in so far is evangelium, giving a fleeting glimpse of Joy, Joy beyond the walls of the world, poignant as grief.”23 The incarnation of Christ was, for Tolkien, the eucatastrophic turn in all of human history. And the resurrection of Christ, as written in the gospels, was the happy ending that changed the tragic meaning of the Messiah’s death into something that signified hope and consolation.

deus ex machina,

Bila sam prijatelj, izgovor, deus ex machina, šala, simptom, izmišljotina, utvara, potpora, igračka, prikaza, smicalica, psihoanalitičar i dadilja. Bila sam, uostalom, „glavna ptica... na svakom kraju“. Ja sam arhetip. Svesna sam toga, i on je svestan toga. Mit u koji se može uvući. Ušunjati.

You'll help me?" "I told you, I have once more come to your rescue. Like a deus ex machina, I appear where I'm most needed." "You don't seem the slightest bit godlike to me," she observed. "Quite the opposite, as a matter of fact.

Throw yourself off that cliff,” Satan says, offering the next temptation. “If God exists, He will surely save you. If you are in fact his Son, God will surely save you.” Why would God not make Himself manifest, to rescue His only begotten Child from hunger and isolation and the presence of great evil? But that establishes no pattern for life. It doesn’t even work as literature. The deus ex machina—the emergence of a divine force that magically rescues the hero from his predicament—is the cheapest trick in the hack writer’s playbook. It makes a mockery of independence, and courage, and destiny, and free will, and responsibility. Furthermore, God is in no wise a safety net for the blind. He’s not someone to be commanded to perform magic tricks, or forced into Self-revelation—not even by His own Son. “Do not put the Lord your God to the test” (Matthew 4:7)—this answer, though rather brief, dispenses with the second temptation. Christ does not casually order or even dare ask God to intervene on his behalf. He refuses to dispense with His responsibility for the events of His own life. He refuses to demand that God prove His presence

In light of such fatal uncertainties all relations were precarious, provisional, and tenuous; all community verged on the chaos that could rain down at any time from the deus ex machina of the slaveholder’s economic calculations or personal whim. The tragedy of trust under social death has been the most underestimated impact of slavery and the one that perhaps has had the longest afterlife beyond the legal abolition of the institution.