English Classics Quotes

Nature pulls one way and human nature another.

Written in ink, in German, in a small, hopelessly sincere handwriting, were the words "Dear God, life is hell." Nothing led up to or away from it. Alone on the page, and in the sickly stillness of the room, the words appeared to have the stature of an uncontestable, even classic indictment. X stared at the page for several minutes, trying, against heavy odds, not to be taken in. Then, with far more zeal than he had done anything in weeks, he picked up a pencil stub and wrote down under the inscription, in English, "Fathers and teachers, I ponder, 'What is Hell?' I maintain that it is the suffering of being unable to love.

Nor shall this peace sleep with her; but as when The bird of wonder dies, the maiden phoenix, Her ashes new-create another heir As great in admiration as herself.

Reading list (1972 edition)[edit] 1. Homer – Iliad, Odyssey 2. The Old Testament 3. Aeschylus – Tragedies 4. Sophocles – Tragedies 5. Herodotus – Histories 6. Euripides – Tragedies 7. Thucydides – History of the Peloponnesian War 8. Hippocrates – Medical Writings 9. Aristophanes – Comedies 10. Plato – Dialogues 11. Aristotle – Works 12. Epicurus – Letter to Herodotus; Letter to Menoecus 13. Euclid – Elements 14. Archimedes – Works 15. Apollonius of Perga – Conic Sections 16. Cicero – Works 17. Lucretius – On the Nature of Things 18. Virgil – Works 19. Horace – Works 20. Livy – History of Rome 21. Ovid – Works 22. Plutarch – Parallel Lives; Moralia 23. Tacitus – Histories; Annals; Agricola Germania 24. Nicomachus of Gerasa – Introduction to Arithmetic 25. Epictetus – Discourses; Encheiridion 26. Ptolemy – Almagest 27. Lucian – Works 28. Marcus Aurelius – Meditations 29. Galen – On the Natural Faculties 30. The New Testament 31. Plotinus – The Enneads 32. St. Augustine – On the Teacher; Confessions; City of God; On Christian Doctrine 33. The Song of Roland 34. The Nibelungenlied 35. The Saga of Burnt Njál 36. St. Thomas Aquinas – Summa Theologica 37. Dante Alighieri – The Divine Comedy;The New Life; On Monarchy 38. Geoffrey Chaucer – Troilus and Criseyde; The Canterbury Tales 39. Leonardo da Vinci – Notebooks 40. Niccolò Machiavelli – The Prince; Discourses on the First Ten Books of Livy 41. Desiderius Erasmus – The Praise of Folly 42. Nicolaus Copernicus – On the Revolutions of the Heavenly Spheres 43. Thomas More – Utopia 44. Martin Luther – Table Talk; Three Treatises 45. François Rabelais – Gargantua and Pantagruel 46. John Calvin – Institutes of the Christian Religion 47. Michel de Montaigne – Essays 48. William Gilbert – On the Loadstone and Magnetic Bodies 49. Miguel de Cervantes – Don Quixote 50. Edmund Spenser – Prothalamion; The Faerie Queene 51. Francis Bacon – Essays; Advancement of Learning; Novum Organum, New Atlantis 52. William Shakespeare – Poetry and Plays 53. Galileo Galilei – Starry Messenger; Dialogues Concerning Two New Sciences 54. Johannes Kepler – Epitome of Copernican Astronomy; Concerning the Harmonies of the World 55. William Harvey – On the Motion of the Heart and Blood in Animals; On the Circulation of the Blood; On the Generation of Animals 56. Thomas Hobbes – Leviathan 57. René Descartes – Rules for the Direction of the Mind; Discourse on the Method; Geometry; Meditations on First Philosophy 58. John Milton – Works 59. Molière – Comedies 60. Blaise Pascal – The Provincial Letters; Pensees; Scientific Treatises 61. Christiaan Huygens – Treatise on Light 62. Benedict de Spinoza – Ethics 63. John Locke – Letter Concerning Toleration; Of Civil Government; Essay Concerning Human Understanding;Thoughts Concerning Education 64. Jean Baptiste Racine – Tragedies 65. Isaac Newton – Mathematical Principles of Natural Philosophy; Optics 66. Gottfried Wilhelm Leibniz – Discourse on Metaphysics; New Essays Concerning Human Understanding;Monadology 67. Daniel Defoe – Robinson Crusoe 68. Jonathan Swift – A Tale of a Tub; Journal to Stella; Gulliver's Travels; A Modest Proposal 69. William Congreve – The Way of the World 70. George Berkeley – Principles of Human Knowledge 71. Alexander Pope – Essay on Criticism; Rape of the Lock; Essay on Man 72. Charles de Secondat, baron de Montesquieu – Persian Letters; Spirit of Laws 73. Voltaire – Letters on the English; Candide; Philosophical Dictionary 74. Henry Fielding – Joseph Andrews; Tom Jones 75. Samuel Johnson – The Vanity of Human Wishes; Dictionary; Rasselas; The Lives of the Poets

...we're in English class, which for most of us is an excruciating exercise in staying awake through the great classics of literature. These works-- groundbreaking, incendiary, timeless-- have been pureed by the curriculum monsters into a digestible pabulum of themes and factoids we can spew back on a test. Scoring well on tests is the sort of happy thing that gets the school district the greenbacks they crave. Understanding and appreciating the material are secondary.

I am the master of my fate, I am the captain of my soul".

If I try to describe him here, it is to make sure that I shall not forget him. To forget a friend is sad. Not every one has had a friend. And if I forget him, I may become like the grown-ups who are no longer interested in anything but figures...

All the jarring, rattling and clanking, spurting and hissing of the moving train of the train dissolved in the distance into something that was half a sob and half a sigh.

I also don't trust people who claim for a classic to be their favorite novel. I think they're lying just to sound educated, or they simply haven't read another book beyond high school English requirements.

Sabrina fair Listen where thou art sitting Under the glassie, cool, translucent wave, In twisted braids of Lillies knitting The loose train of thy amber-dropping hair, Listen for dear honour's sake, Goddess of the silver lake, Listen and save.

The object of our lives is to look at, listen to, touch, taste things. Without them—these sticks, stones, feathers, shells—there is no Deity.

No one I met at this time -- doctors, nurses, practicantes, or fellow-patients-- failed to assure me that a man who is hit through the neck and survives it is the luckiest creature alive. I could not help thinking that it would be even luckier not to be hit at all.

HANNAH: ....English landscape was invented by gardeners imitating foreign painters who were evoking classical authors. The whole thing was brought home in the luggage from the Grand Tour. Here, look -- Capability Brown doing Claude, who was doing Virgil. Arcadia! And here, superimposed by Richard Noakes, untamed nature in the style of Salvator Rosa. It's the Gothic novel expressed in landscape. Everything but vampires.

In his entirely personal experience of them, English was jazz music, German was classical music, French was ecclesiastical music, and Spanish was from the streets. Which is to stay, stab his heart and it would bleed French, slice his brain open and its convolutions would be lined with English and German, and touch his hands and they would feel Spanish.

The seasons change, and you change, but your Lord abides evermore the same, and the streams of His love are as deep, as broad, and as full as ever.

To know what is first and what is last will lead near to what is taught in the Great Learning.

Her voice was trained, supple as leather, precise as a knife thrower's blade. Singing or talking, it had the same graceful quality, and an accent I thought at first was English, but then realized was the old-fashioned American of a thirties movie, a person who could get away with saying 'grand.' Too classic, they told her when she went out on auditions. It didn't mean old. It meant too beautiful for the times, when anything that lasted longer than six months was considered passe. I loved to listen to her sing, or tell me stories about her childhood in suburban Connecticut, it sounded like heaven.

I have always been interested in this man. My father had a set of Tom Paine's books on the shelf at home. I must have opened the covers about the time I was 13. And I can still remember the flash of enlightenment which shone from his pages. It was a revelation, indeed, to encounter his views on political and religious matters, so different from the views of many people around us. Of course I did not understand him very well, but his sincerity and ardor made an impression upon me that nothing has ever served to lessen. I have heard it said that Paine borrowed from Montesquieu and Rousseau. Maybe he had read them both and learned something from each. I do not know. But I doubt that Paine ever borrowed a line from any man... Many a person who could not comprehend Rousseau, and would be puzzled by Montesquieu, could understand Paine as an open book. He wrote with a clarity, a sharpness of outline and exactness of speech that even a schoolboy should be able to grasp. There is nothing false, little that is subtle, and an impressive lack of the negative in Paine. He literally cried to his reader for a comprehending hour, and then filled that hour with such sagacious reasoning as we find surpassed nowhere else in American letters - seldom in any school of writing. Paine would have been the last to look upon himself as a man of letters. Liberty was the dear companion of his heart; truth in all things his object. ...we, perhaps, remember him best for his declaration: 'The world is my country; to do good my religion.' Again we see the spontaneous genius at work in 'The Rights of Man', and that genius busy at his favorite task - liberty. Written hurriedly and in the heat of controversy, 'The Rights of Man' yet compares favorably with classical models, and in some places rises to vaulting heights. Its appearance outmatched events attending Burke's effort in his 'Reflections'. Instantly the English public caught hold of this new contribution. It was more than a defense of liberty; it was a world declaration of what Paine had declared before in the Colonies. His reasoning was so cogent, his command of the subject so broad, that his legion of enemies found it hard to answer him. 'Tom Paine is quite right,' said Pitt, the Prime Minister, 'but if I were to encourage his views we should have a bloody revolution.' Here we see the progressive quality of Paine's genius at its best. 'The Rights of Man' amplified and reasserted what already had been said in 'Common Sense', with now a greater force and the power of a maturing mind. Just when Paine was at the height of his renown, an indictment for treason confronted him. About the same time he was elected a member of the Revolutionary Assembly and escaped to France. So little did he know of the French tongue that addresses to his constituents had to be translated by an interpreter. But he sat in the assembly. Shrinking from the guillotine, he encountered Robespierre's enmity, and presently found himself in prison, facing that dread instrument. But his imprisonment was fertile. Already he had written the first part of 'The Age of Reason' and now turned his time to the latter part. Presently his second escape cheated Robespierre of vengeance, and in the course of events 'The Age of Reason' appeared. Instantly it became a source of contention which still endures. Paine returned to the United States a little broken, and went to live at his home in New Rochelle - a public gift. Many of his old companions in the struggle for liberty avoided him, and he was publicly condemned by the unthinking. {The Philosophy of Paine, June 7, 1925}

The period is one of the most complicated and concepts of classical rhetoric. Nobody in the ancient world could quite decide what it meant, but they were united in the belief that it was terribly, terribly important.

We see the world piece by piece, as the sun, the moon, the animal, the tree; but the whole, of which these are shining parts, is the soul.

It was Monday morning. Swaminathan was reluctant to open his eyes. he considered Monday specially unpleasant in the calendar. After the delicious freedom of Saturday and Sunday, it was difficult to get into the Monday mood of work and discipline. He shuddered at the very thought of school: the dismal yellow building; the fire-eyed Vedanayagam, his class teacher, and headmaster with his thin long cane...

Shakespeare's bitter play [Troilus and Cressida] is therefore a dramatization of a part of a translation into English of the French translation of a Latin imitation of an old French expansion of a Latin epitome of a Greek romance. (p. 55)

One often hears of writers that rise and swell with their subject, though it may seem but an ordinary one. How, then, with me, writing of this Leviathan? Unconsciously my chirography expands into placard capitals. Give me a condor's quill! Give me Vesuvius' crater for an inkstand! Friends, hold my arms! For in the mere act of penning my thoughts of this Leviathan, they weary me, and make me faint with their out-reaching comprehensiveness of sweep, as if to include the whole circle of the sciences, and all the generations of whales, and men, and mastodons, past, present, and to come, with all the revolving panoramas of empire on earth, and throughout the whole universe, not excluding its suburbs. Such, and so magnifying, is the virtue of a large and liberal theme! We expand to its bulk. To produce a mighty book, you must choose a mighty theme. No great and enduring volume can ever be written on the flea, though many there be who have tried it.

Nevertheless, if someone has an empty brain—and because of this is vexed by insanity, and is delerious—take the whole grains of wheat and cook them in water. Remove these cooked grains from the water, and place them around his whole head, tying a cloth over them. His brain will be reinvigorated by their vital fluid, and he may recover his health and strength. Do this until he returns to his right mind. If

Some Saian mountaineer Struts today with my shield. I threw it down by a bush and ran When the fighting got hot. Life seemed somehow more precious. It was a beautiful shield. I know where I can buy another Exactly like it, just as round.

Nelly, I am Heathcliff! He’s always, always in my mind: not as a pleasure, any more than I am always a pleasure to myself, but as my own being.

Whoever remains for long here in this earthly life will enjoy and endure more than enough.

I went on to propose that our own culture and the classical tongues made a happier conjugation [...] English, I suggested, couldn't really express us.

You know why I am here?" asked the headmaster. Swaminathan searched for an answer: the headmaster might be there to receive letters from boy's parents; he might be there to flay Ebenzars alive; he might be there to deliver six cuts with his cane every Monday at twelve o'clock. And above all why this question?

Wishing to regulate their families, they first cultivated their persons. Wishing to cultivate their persons, they first rectified their hearts. Wishing to rectify their hearts, they first sought to be sincere in their thoughts. Wishing to be sincere in their thoughts, they first extended to the utmost their knowledge.

Wishing to regulate their families, they first cultivated their persons. Wishing to cultivate their persons, they first rectified their hearts. Wishing to rectify their hearts, they first sought to be sincere in their thoughts. Wishing to be sincere in their thoughts, they first extended to the utmost their knowledge. Such extension of knowledge lay in the investigation of things.

Then there was Mani, the Mighty Good-For-Nothing. He towered above all the other boys of the class. He seldom brought any books to the class, and never bothered about homework. He came to the class, monopolized the last bench, ans slept bravely. No teacher ever tried to prod him.

He(Samuel, known as 'the Pea') was as apprehensive, weak and nervous about things as Swaminathan was. The bond between them was laughter. They were able to see together the same absurdities and incongruities in things. The most trivial and unnoticeable thing to others would tickle them to death.

Love not me for comely grace, For my pleasing eye or face; Nor for any outward part, No, nor for my constant heart: For those may fail or turn to ill, So thou and I shall sever. Keep therefore a true woman's eye, And love me still, but know not why; So hast thou the same reason still To doat upon me ever.

Good writing has an aliveness that keeps the reader reading from one paragraph to the next, and it's not a question of gimmicks to "personalize" the author. It's a question of using the English language in a way that will achieve the greatest clarity and strength.

If we remember that all the trees of earth are marked for the woodman’s axe, we will not be so ready to build our nests in them.

English was jazz music, German was classical music, French was ecclesiastical music, and Spanish was the music from the streets.

He turned his face over a shoulder, rere regardant. Moving through the air high spars of a threemaster, her sails brailed up on the crosstrees, homing, upstream, silently moving, a silent ship.

The young man never seemed to know what idleness was,” marveled Cutler, “and every leisure moment would find the last novel, some English classic or some abstruse book on natural history in his hands.

"I always read everything when I was a kid-and I do mean everything, from Nancy Drew to Dickens to my dad's John D. MacDonald-but then I went to regular school and the English teachers started telling me to read 'real' books, so I tried. And you know, I kinda went off reading for a while. I had already been reading literary novels and the classics mixed in with whatever else, but-" She waved a hand. "So I went back to reading whatever I wanted, whenever I wanted to-reading had been my greatest pleasure in all the world. I mean I never really watched all that much television, because we were moving around, never really had solid digs until I was thirteen, so reading was everything.

Not Locke, nor Hume, nor Smith, nor Burke, could ever have argued, as Bentham did, that “every law is an evil for every law is an infraction of liberty.” Their argument was never a complete laissez faire argument, which, as the very words show, is also part of the French rationalist tradition and in its literal sense was never defended by any of the English classical economists. They knew better than most of their later critics that it was not some sort of magic but the evolution of “well-constructed institutions,” where the “rules and principles of contending interests and compromised advantages” would be reconciled, that had successfully channeled individual efforts to socially beneficial aims. In fact, their argument was never antistate as such, or anarchistic, which is the logical outcome of the laissez faire doctrine; it was an argument that accounted both for the proper functions of the state and for the limits of state action.

I wore only black socks, because I had heard that white ones were the classic sign of the American tourist. Black ones though,- those'll fool 'em. I supposed I hoped the European locals' conversation would go something like this: PIERRE: Ha! Look at that tourist with his camera and guidebook! JACQUES: Wait, but observe his socks! They are...black! PIERRE: Zut alors! You are correct! He is one of us! What a fool I am! Let us go speak to him in English and invite him to lunch!

Notwithstanding the prevalent notion that the French poets are the sympathetic heirs of classic culture, it appears to me that they are not so imbued with the true classic spirit, art, and mythology as some of our English poets, notably Keats and Shelley.

But one whose face has hard and rough skin, made harsh from the wind, should cook barley in water and, having strained that water through a cloth, should bathe his face gently with the moderately warm water. The skin will become soft and smooth, and will have a beautiful color. If a person’s head has an ailment, it should be washed frequently in this water, and it will be healed. V.

Then I started wondering like a bastard what the one sitting next to me, that taught English, thought about being a nun and all, when she read certain books for English. Books not necessarily with a lot of sexy stuff in them, but books with lovers and all in them.

I've been very influenced by folklore, fairy tales, and folk ballads, so I love all the classic works based on these things -- like George Macdonald's 19th century fairy stories, the fairy poetry of W.B. Yeats, and Sylvia Townsend Warner's splendid book The Kingdoms of Elfin. (I think that particular book of hers wasn't published until the 1970s, not long before her death, but she was an English writer popular in the middle decades of the 20th century.) I'm also a big Pre-Raphaelite fan, so I love William Morris' early fantasy novels. Oh, and "Lud-in-the-Mist" by Hope Mirrlees (Neil Gaiman is a big fan of that one too), and I could go on and on but I won't!

For the most part, the English and American whale draughtsmen seem entirely content with presenting the mechanical outline of things, such as the vacant profile of the whale; which, so far as picturesqueness of effect is concerned, is about tantamount to sketching the profile of a pyramid.

Picture it. Nineteenth-century man with his horses, dogs, carts, slow motion. Then, in the twentieth century, speed up your camera. Books cut shorter. Condensations. Digests, Tabloids. Everything boils down to the gag, the snap ending.” “Snap ending.” Mildred nodded. “Classics cut to fit fifteen-minute radio shows, then cut again to fill a two-minute book column, winding up at last as a ten- or twelve-line dictionary resume. I exaggerate, of course. The dictionaries were for reference. But many were those whose sole knowledge of Hamlet (you know the title certainly, Montag; it is probably only a faint rumor of a title to you, Mrs. Montag), whose sole knowledge, as I say, of Hamlet was a one-page digest in a book that claimed: now at last you can read all the classics; keep up with your neighbors. Do you see? Out of the nursery into the college and back to the nursery; there’s your intellectual pattern for the past five centuries or more.” Mildred arose and began to move around the room, picking things up and putting them down. Beatty ignored her and continued: “Speed up the film, Montag, quick. Click, Pic, Look, Eye, Now, Flick, Here, There, Swift, Pace, Up, Down, In, Out, Why, How, Who, What, Where, Eh? Uh! Bang! Smack! Wallop, Bing, Bong, Boom! Digest-digests, digest-digest-digests. Politics? One column, two sentences, a headline! Then, in mid-air, all vanishes! Whirl man’s mind around about so fast under the pumping hands of publishers, exploiters, broadcasters that the centrifuge flings off all unnecessary, time-wasting thought!” Mildred smoothed the bedclothes. Montag felt his heart jump and jump again as she patted his pillow. Right now she was pulling at his shoulder to try to get him to move so she could take the pillow out and fix it nicely and put it back. And perhaps cry out and stare or simply reach down her hand and say, “What’s this?” and hold up the hidden book with touching innocence. “School is shortened, discipline relaxed, philosophies, histories, languages dropped, English and spelling gradually gradually neglected, finally almost completely ignored. Life is immediate, the job counts, pleasure lies all about after work. Why learn anything save pressing buttons, pulling switches, fitting nuts and bolts?

The fairy or fantastic world replaces the classical Hades (or Hell) in Sir Orfeo, and Sir Gawain and the Green Knight takes this fantasy element to new heights. Sir Gawain is one of the Knights of the Round Table, the followers of King Arthur, who is so much of a presence in English history, myth and literature.

I first met Winston Churchill in the early summer of 1906 at a dinner party to which I went as a very young girl. Our hostess was Lady Wemyss and I remember that Arthur Balfour, George Wyndman, Hilaire Belloc and Charles Whibley were among the guests… I found myself sitting next to this young man who seemed to me quite different from any other young man I had ever met. For a long time he seemed sunk in abstraction. Then he appeared to become suddenly aware of my existence. He turned on me a lowering gaze and asked me abruptly how old I was. I replied that I was nineteen. “And I,” he said despairingly, “am thirty-two already. Younger than anyone else who counts, though, “he added, as if to comfort himself. Then savagely: “Curse ruthless time! Curse our mortality. How cruelly short is this allotted span for all we must cram into it!” And he burst forth into an eloquent diatribe on the shortness of human life, the immensity of possible human accomplishment—a theme so well exploited by the poets, prophets, and philosophers of all ages that it might seem difficult to invest it with new and startling significance. Yet for me he did so, in a torrent of magnificent language which appeared to be both effortless and inexhaustible and ended up with the words I shall always remember: “We are all worms. But I do believe that I am a glow worm.” By this time I was convinced of it—and my conviction remained unshaken throughout the years that followed. Later he asked me whether I thought that words had a magic and music quite independent of their meaning. I said I certainly thought so, and I quoted as a classic though familiar instance the first lines that came into my head. Charm’d magic casements, opening on the foam Of perilous seas, in faery lands forlorn. His eyes blazed with excitement. “Say that again,” he said, “say it again—it is marvelous!” “But I objected, “You know these lines. You know the ‘Ode to a Nightengale.’ ” He had apparently never read or heard of it before (I must, however, add that next time I met him he had not learned not merely this but all of the odes to Keats by heart—and he recited them quite mercilessly from start to finish, not sparing me a syllable). Finding that he liked poetry, I quoted to him from one of my own favorite poets, Blake. He listened avidly, repeating some lines to himself with varying emphases and stresses, then added meditatively: “I never knew that old Admiral had found so much time to write such good poetry.” I was astounded that he, with his acute susceptibility to words and power of using them, should have left such tracts of English literature entirely unexplored. But however it happened he had lost nothing by it, when he approached books it was “with a hungry, empty mind and with fairly srong jaws, and what I got I *bit*.” And his ear for the beauty of language needed no tuning fork. Until the end of dinner I listened to him spellbound. I can remember thinking: This is what people mean when they talk of seeing stars. That is what I am doing now. I do not to this day know who was on my other side. Good manners, social obligation, duty—all had gone with the wind. I was transfixed, transported into a new element. I knew only that I had seen a great light. I recognized it as the light of genius… I cannot attempt to analyze, still less transmit, the light of genius. But I will try to set down, as I remember them, some of the differences which struck me between him and all the others, young and old, whom I have known. First and foremost he was incalculable. He ran true to no form. There lurked in his every thought and world the ambush of the unexpected. I felt also that the impact of life, ideas and even words upon his mind, was not only vivid and immediate, but direct. Between him and them there was no shock absorber of vicarious thought or precedent gleaned either from books or other minds. His relationship wit

…he is invariably a kind of super-size but unmistakably ‘classical’ neurotic, an aberrant who only occasionally, and never deeply, wishes to surrender his aberration; or, in English, a Sick Man who not at all seldom, though he’s reported to childishly deny it, gives out terrible cries of pain, as if he would wholeheartedly let go of both his art and soul to experience what passes in other people for wellness, and yet (the rumor continues) when his unsalutary-looking little room is broken into and someone - not infrequently, at that, someone who actually loves him - passionately asks him where the pain is, he either declines or seems unable to discuss it an any constructive critical length, and in the morning, when even great poets and painters presumably feel a bit more chipper than usual, he looks more perversely determined than ever to see his sickness run its course, as though by the light of another, presumably working day he had remembered that all men, the healthy ones included, eventually die, but that he, lucky man, is at least being done in by the most stimulating companion, disease or no, he has ever known.

One who has just come from reading perhaps one of the best English books will find how many with whom he can converse about it? Or suppose he comes from reading a Greek or Latin classic in the original, whose praises are familiar even to the so-called illiterate; he will find nobody at all to speak to, but must keep silence about it.

Those who have not learned to read the ancient classics in the language in which they were written must have a very imperfect knowledge of the history of the human race; for it is remarkable that no transcript of them has ever been made into any modern tongue, unless our civilization itself may be regarded as such a transcript. Homer has never yet been printed in English, nor Aeschylus, nor Virgil even, works as refined, as solidly done, and as beautiful almost as the morning itself; for later writers, say what we will of their genius, have rarely, if ever, equaled the elaborate beauty and finish and the lifelong and heroic literary labors of the ancients. They only talk of forgetting them who never knew them.

The doctor begins his seduction with the classic English gambit of commenting on the weather.

To know nothing about their great men is one of the necessary elements of English education.

Vol. 4: Complete Poems in English, Milton

Homo sum humani a me nihil alienum puto

We have no king to establish the King’s English; we only have the President’s English, which we don’t want.

The only trouble was that the scripture master, Mr. Ebenzar, was a fanatic.

If he(Mani) were Swaminathan, he would have closed the whole incident at the beginning by hurling an ink-bottle, if nothing bigger was available, at the teacher.

We need winds and tempests to exercise our faith, to tear off the rotten branches of self-reliance, and to root us more firmly in Christ. The

The day of evil reveals to us the value of our glorious hope.

Take nothing on its looks; take everything on evidence. Dickens, Great Expectations (1861)

English

Whether our Master shall say, “Go” or “Stay,” let us be equally well pleased as long as He indulges us with His presence.

The Core: Teaching Your Child the Foundations of Classical Education.

There is nothing so dangerous in this world as liberty, except the lack of it.

I love a ballad but even too well, if it be doleful matter merrily set down, or a very pleasant thing indeed and sung lamentably.

The only reason why anything virtuous or lovely survives in us is this: “the Lord was there.

God’s promises were never meant to be thrown aside as wastepaper; He intended that they should be used.

Nothing in the world is difficult"..."it is only our own thoughts that make things seem so.

Who would ever think of learning to live out of an English novel?” said Carry.

Do you not see now wherefore your coming is to us as the footsteps of doom?” She said this last in Classical English, and I recognized the phrase. “Tolkien,” I said.

Let me be as the creature that stands between the plow and the altar, to work or to be sacrificed; and let my motto be, “Ready for either.

The poor, the foul, the false, love can Admit, but not the busied man.

Rejoice, believer, in your union to Him who was numbered among the transgressors; and prove that you are truly saved by being clearly identified with those who are new creatures in Him.

-who could be silent, but could not bear silence - who always felt that he must lead women, though he knew not whither, and protect them, though he knew not against what -who had deliberately warped the brain. she did not acknowledge that her brain was warped, for the brain itself must assist in that acknowledgement, and she was disordering the very instruments of life.

She was a great and insatiable reader, surprisingly well acquainted with the classics of literature, and unexpectedly lavish in the purchase of books. Her neighbours never forgot to mention, in describing her, the awe-inspiring fact that she 'took in the English Times and the Saturday Review, and read every word of them,' but it was hinted that the bookshelves that her own capable hands had put up in her bedroom held a large proportion of works of fiction of a startlingly advanced kind, 'and,' it was generally added in tones of mystery, 'many of them French.

The author of the quaint old English classic, The Cloud of Unknowing, teaches us how to do this. "Lift up thine heart unto God with a meek stirring of love; and mean Himself, and none of His goods. And thereto, look thee loath to think on aught but God Himself. So that nought work in thy wit, nor in thy will, but only God Himself. This is the work of the soul that most pleaseth God.

The obvious cure for the tragic shortcomings of human intuition in a high-tech world is education. And this offers priorities for educational policy: to provide students with the cognitive tools that are most important for grasping the modern world and that are most unlike the cognitive tools they are born with. The perilous fallacies we have seen in this chapter, for example, would give high priority to economics, evolutionary biology, and probability and statistics in any high school or college curriculum. Unfortunately, most curricula have barely changed since medieval times, and are barely changeable because no one wants to be the philistine who seems to be saying that it is unimportant to learn a foreign language, or English literature, or trigonometry, or the classics. But no matter how valuable a subject may be, there are only twenty-four hours in a day, and a decision to teach one subject is also a decision not to teach another one. The question is not whether trigonometry is important, but whether it is more important than statistics; not whether an educated person should know the classics, but whether it is more important for an educated person to know the classics than to know elementary economics. In a world whose complexities are constantly challenging our intuitions, these trade-offs cannot responsibly be avoided.

At every one of those concerts in England you will find rows of weary people who are there, not because they really like classical music, but because they think they ought to like it. Well, there is the same thing in heaven. A number of people sit there in glory, not because they are happy, but because they think they owe it to their position to be in heaven. They are almost all English.

49 Wilhelm Wundt Principles of Physiological Psychology (1873–74) The book that made Wundt the dominant figure in the new science of psychology. Translated into English by Edward Titchener in 1904.

The Oxford Classical Dictionary firmly states: “No word in either Greek or Latin corresponds to the English ‘religion’ or ‘religious.’ ”6 The idea of religion as an essentially personal and systematic pursuit was entirely absent from classical Greece, Japan, Egypt, Mesopotamia, Iran, China, and India.7 Nor does the Hebrew Bible have any abstract concept of religion; and the Talmudic rabbis would have found it impossible to express what they meant by faith in a single word or even in a formula, since the Talmud was expressly designed to bring the whole of human life into the ambit of the sacred.8

I'm working on this book on the trial of Socrates. It started out with the idea of the problem of freedom of thought...and expression...I started by spending a year on the English Seventeenth Century Revolutions, and I had a fascinating time. And then I felt I couldn't understand the English Seventeenth Century Revolutions without understanding the Reformation. When I got to the Reformation, I felt that I had to understand the premonitory movements that began in the Middle Ages. When I got there, I felt I had to understand the classical period." (quoted in Andrew Patner, I. F. Stone: A Portrait, p. 21)

Written in ink, in German, in a small, hopelessly sincere handwriting, were the words, “Dear God, life is hell.” Nothing led up to or away from it. Alone on the page, and in the sickly stillness of the room, the words appeared to have the statue of an uncontestable, even classic indictment. X stared at the page for several minutes, trying, against heavy odds, not to be taken in. Then, with far more zeal than he had done anything in weeks, he picked up a pencil stub and wrote down under the inscription, in English, “Fathers and teachers, I ponder, ‘What is hell?’ I maintain that it is the suffering of being unable to love.” He started to write Dostoevski’s name under the inscription, but saw—with fright that ran through his whole body—that what he had written was almost entirely illegible. He shut the book.

When sonneteering Wordsworth re-creates the landing of Mary Queen of Scots at the mouth of the Derwent - Dear to the Loves, and to the Graces vowed, The Queen drew back the wimple that she wore - he unveils nothing less than a canvas by Rubens, baroque master of baroque masters; this is the landing of a TRAGIC Marie de Medicis. Yet so receptive was the English ear to sheep-Wordsworth's perverse 'Enough of Art' that it is not any of these works of supreme art, these master-sonnets of English literature, that are sold as picture postcards, with the text in lieu of the view, in the Lake District! it is those eternally, infernally sprightly Daffodils.

Yes, it would nice for this fifty year period, this cradle of all vampire short stories in the English language, to include a vampire tale by Edgar Allan Poe. But the sad answer is that Poe never penned a vampire story.

Fawn M. Brodie, whose classic life of Smith earned her excommunication from the Mormon Church, saw the Book of Mormon as 'one of the earliest examples of frontier fiction, the first long Yankee narrative that owes nothing to English literary fashions'.105 There was quite a genre of 'lost race' novels at the time. A century on, J. R. R. Tolkien's Lord of the Rings saga formed an English Catholic parallel, conscious or unconscious, to Smith's work.

John Milton has, since his own lifetime, always been one of the major figures in English literature, but his reputation has changed constantly. He has been seen as a political opportunist, an advocate of 'immorality' (he wrote in favour of divorce and married three times), an over-serious classicist, and an arrogant believer in his own greatness as a poet. He was all these things. But, above all, Milton's was the last great liberal intelligence of the English Renaissance. The values expressed in all his works are the values of tolerance, freedom and self-determination, expressed by Shakespeare, Hooker and Donne. The basis of his aesthetic studies was classical, but the modernity of his intellectual interests can be seen in the fact that he went to Italy (in the late 1630s) where he met the astronomer Galileo, who had been condemned as a heretic by the Catholic church for saying the earth moved around the sun.

Good,’ said Mr Carton. ‘Why children, a loathsome breed who should be kept under hatches or in monasteries till they have acquired some rudiments of manners and consideration for others, should be encouraged to think themselves of importance now, I do not know. The English as a race have always been sentimental about dogs, and draught horses in Italy where most of them have never been, but this wave of sentiment about children is a new and revolting outburst.

Now, in all that he has done, Amos Tutuola is not sui generis. Is he ungrammatical? Yes. But James Joyce is more ungrammatical than Tutuola. Ezekiel Mphahlele has often said and written that African writers are doing violence to English. Violence? Has Joyce not done more violence to the English Language? Mark Twain's Huckleberry Finn is written in seven dialects, he tells us. It is acknowledged a classic. We accept it, forget that it has no "grammar", and go ahead to learn his "grammar" and what he has to tell us. Let Tutuola write "no grammar" and the hyenas and jackals whine and growl. Let Gabriel Okara write a "no grammar" Okolo. They are mum. Why? Education drives out of the mind superstition, daydreaming, building of castles in the air, cultivation of yarns, and replaces them with a rational practical mind, almost devoid of imagination. Some of these minds having failed to write imaginative stories, turn to that aristocratic type of criticism which magnifies trivialities beyond their real size. They fail to touch other virtues in a work because they do not have the imagination to perceive these mysteries. Art is arbitrary. Anybody can begin his own style. Having begun it arbitrarily, if he persists to produce in that particular mode, he can enlarge and elevate it to something permanent, to something other artists will come to learn and copy, to something the critics will catch up with and appreciate.

books that Uncle bought in Odessa or acquired in Heidelberg, books that he discovered in Lausanne or found in Berlin or Warsaw, books he ordered from America and books the like of which exist nowhere but in the Vatican Library, in Hebrew, Aramaic, Syriac, classical and modern Greek, Sanskrit, Latin, medieval Arabic, Russian, English, German, Spanish, Polish, French, Italian, and languages and dialects I had never even heard of, like Ugaritic and Slovene, Maltese and Old Church Slavonic.

Americans invented jazz; the French, Brazilians and Japanese also understand it. It is important to have formal training in the classical repertoire, but a true musician is not a train which can only run on the rails. My mother admired Bill Evans.

The political independence of a nation must not be confused with any intellectual isolation. The spiritual freedom, indeed, your own generous lives and liberal air will give you. From us you will learn the classical restraint of form. For all great art is delicate art, roughness having very little to do with strength, and harshness very little to do with power. ‘The artist,’ as Mr. Swinburne says, ‘must be perfectly articulate.’ This limitation is for the artist perfect freedom: it is at once the origin and the sign of his strength. So that all the supreme masters of style - Dante, Sophocles, Shakespeare - are the supreme masters of spiritual and intellectual vision also. Love art for its own sake, and then all things that you need will be added to you.

Sir Julius, vain gregarious soul that he was, had made his career by impressing other people. It was a cruel fate that had given him for guardian a man whom the warm rays of his personality impressed no more than if they had been the cold beams of the moon.

The point is that you have here a direct, unmistakable assault on sanity and decency; and even - since some of Dali’s pictures would tend to poison the imagination like a pornographic postcard - on life itself. What Dali has done and what he has imagined is debatable, but in his outlook, his character, the bedrock decency of a human being does not exist. He is as anti-social as a flea. Clearly, such people are undesirable, and a society in which they can flourish has something wrong with it. Now, if you showed this book, with its illustrations, to Lord Elton, to Mr. Alfred Noyes, to The Times leader writers who exult over the “eclipse of the highbrow” - in fact, to any “sensible” art-hating English person - it is easy to imagine what kind of response you would get. They would flatly refuse to see any merit in Dali whatever. Such people are not only unable to admit that what is morally degraded can be æsthetically right, but their real demand of every artist is that he shall pat them on the back and tell them that thought is unnecessary. And they can be especially dangerous at a time like the present, when the Ministry of Information and the British Council put power into their hands. For their impulse is not only to crush every new talent as it appears, but to castrate the past as well. Witness the renewed highbrow-baiting that is now going on in this country and America, with its outcry not only against Joyce, Proust and Lawrence, but even against T. S. Eliot. But if you talk to the kind of person who can see Dali’s merits, the response that you get is not as a rule very much better. If you say that Dali, though a brilliant draughtsman, is a dirty little scoundrel, you are looked upon as a savage. If you say that you don’t like rotting corpses, and that people who do like rotting corpses are mentally diseased, it is assumed that you lack the æsthetic sense. Since “Mannequin rotting in a taxicab” is a good composition. And between these two fallacies there is no middle position, but we seldom hear much about it. On the one side Kulturbolschewismus: on the other (though the phrase itself is out of fashion) “Art for Art’s sake.” Obscenity is a very difficult question to discuss honestly. People are too frightened either of seeming to be shocked or of seeming not to be shocked, to be able to define the relationship between art and morals. It will be seen that what the defenders of Dali are claiming is a kind of benefit of clergy. The artist is to be exempt from the moral laws that are binding on ordinary people. Just pronounce the magic word “Art,” and everything is O.K.

Good writing has an aliveness that keeps the reader reading from one paragraph to the next, and it’s not a question of gimmicks to “personalize” the author. It’s a question of using the English language in a way that will achieve the greatest clarity and strength.

Remember, weary pilgrims in this wilderness of sin, that you will never get a morsel to satisfy your spiritual hunger unless you find it in Him! Christ is the solace of our life. All our true joys come from Him; and in times of trouble, His presence is our consolation.

If tears of grief flowed from the eyes and tears of anger from the ears, I could show my heart without saying a word. But my tears all pour in the same way from my eyes, and there's no difference in their color. It's not surprising that you can't tell what's in my heart.

No one likes to be condescended to, so it’s hardly surprising that so many high school students develop a loathing for the modernist novels they’re forced to read in senior English and go to the movies instead. (Movies have plots, after all.) They’re being good postmodernists.

In China, often only the practice of infanticide makes marriage and family life possible.  In all the major towns, parents annually abandon many children in the streets or drown them like unwanted puppies.  Some people even make a living out of performing infanticide contracts for money.

They lead us through a barren desert of verbiage to a mirage that they call life: we wander aimlessly through a very wilderness of words in search of one touch of nature. However, one should not be too severe on English novels; they are the only relaxation of the intellectually unemployed.

promenade concert n. BRITISH a concert of classical music at which a part of the audience stands in an area without seating, for which tickets are sold at a reduced price. The most famous series of such concerts is the annual BBC Promenade Concerts (known as the Proms), instituted by Sir Henry Wood in 1895.

California nurse Jared Axen was holding a dying hospice patient’s hand when he began to sing an old hymn. The woman, who didn’t speak English, hadn’t been responsive in days. But when Axen sang to her, she squeezed his hand, a response that soothed the woman’s family. Six years later, Axen, a classically trained musician, sings to some of his patients every day. “It gives them their humanity back,” he said. “Music is a common language that helps me connect with my patients.” Many patients also claim to feel better and to need fewer pain medications, Axen said. “It’s become a vital tool for my patients and their families.

... all the outpourings of the English-speaking presses, accumulated and preserved in a pickle of democracy, so that classics stood on the same shelf with books that, though they deserved to be remembered, were not; and these with books justly forgotten; and others that ought never to have seen the light of print.

had traveled to London to study acting, pricked on by the sense that classical English acting was the high-water mark in English-speaking theater. I would soon learn a surprising truth: I came from America, home to an acting tradition that my new English friends envied, to an even greater degree than I envied theirs.

Bucket had started his criminal career in Braas, not far from when Allan and his new friends now found themselves. There he had gotten together with some like-minded peers and started the motorcycle club called The Violence. Bucket was the leader; he decided which newsstand was to be robbed of cigarettes next. He was the one who has chosen the name- The Violence, in English, not swedish. And he was the one who unfortunately asked his girlfriend Isabella to sew the name of the motorcycle club onto ten newly stolen leather jackets. Isabella had never really learned to spell properly at school, not in Swedish, and certainly not in English. The result was that Isabella sewed The Violins on the jackets instead. As the rest of the club members had had similar academic success, nobody in the group noticed the mistake. So everyone was very surprised when one day a letter arrived for The Violins in Braas from the people in charge of the concert hall in Vaxjo. The letter suggested that, since the club obviously concerned itself with classical music, they might like to put in am appearance at a concert with the city’s prestigious chamber orchestra, Musica Viate. Bucket felt provoked; somebody was clearly making fun of him. One night he skipped the newsstand, and instead went into Vaxjo to throw a brick through the glass door of the concert hall. This was intended to teach the people responsible lesson in respect. It all went well, except that Bucket’s leather glove happened to follow the stone into the lobby. Since the alarm went off immediately, Bucket felt it would be unwise to try to retrieve the personal item in question. Losing the glove was not good. Bucket had traveled to Vaxjo by motorbike and one hand was extremely cold all the way home to Braas that night. Even worse was the fact that Bucket’s luckless girlfriend had written Bucket’s name and adress inside the glove, in case he lost it." For more quotes from the novel visit my blog: frommybooks.wordpress.com

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.

relating to the ESV® translation. Sign Up Here How to Use the ESV Bible, Kindle Edition Thank you for downloading the ESV Bible, Kindle Edition. This edition is designed to provide all of the contents of the print edition of the ESV Classic Reference Bible, optimized for your Amazon Kindle device or app. Accessing Cross-References and Footnotes

The American university inherits the missions of two very different institutions: the English college and the German research university. The first pattern prevailed before the Civil War. Curricula centered on the classics, and the purpose of education was understood to be the formation of character. With the emergence of a modern industrial society in the last decades of the nineteenth century, that kind of pedagogy was felt to be increasingly obsolete. Johns Hopkins was founded in 1876 as the first American university on the German model: a factory of knowledge that would focus in particular on the natural and social sciences, the disciplines essential to the new economy and the world to which it was giving rise.

I am quite sure that (bar one) I have no race prejudices, and I think I have no color prejudices nor caste prejudices nor creed prejudices. Indeed, I know it. I can stand any society. All that I care to know is that a man is a human being-that is enough for me; he can't be any worse. I have no special regard for Satan; but I can at least claim that I have no prejudice against him. It may even be that I lean a little his way, on account of his not having a fair show. All religions issue bibles against him, and say the most injurious things about him, but we never hear his side. We have none but the evidence for the prosecution, and yet we have rendered the verdict. To my mind, this is irregular. It is un-English; it is un-American; it is French. Without

No more peeping through keyholes! No more mas turbating in the dark! No more public confessions! Unscrew the doors from their jambs! I want a world where the vagina is represented by a crude, honest slit, a world that has feeling for bone and contour, for raw, primary colors, a world that has fear and respect for its animal origins. I’m sick of looking at cunts all tickled up, disguised, deformed, idealized. Cunts with nerve ends exposed. I don’t want to watch young virgins masturbating in the privacy of their boudoirs or biting their nails or tearing their hair or lying on a bed full of bread crumbs for a whole chapter. I want Madagascan funeral poles, with animal upon animal and at the top Adam and Eve, and Eve with a crude, honest slit between the legs. I want hermaphrodites who are real hermaphrodites, and not make-believes walking around with an atrophied penis or a dried-up cunt. I want a classic purity, where dung is dung and angels are angels. The Bible a la King James, for example. Not the Bible of Wycliffe, not the Vulgate, not the Greek, not the Hebrew, but the glorious, death-dealing Bible that was created when the English language was in flower, when a vocabulary of twenty thousand words sufficed to build a monument for all time. A Bible written in Svenska or Tegalic, a Bible for the Hottentots or the Chinese, a Bible that has to meander through the trickling sands of French is no Bible-it is a counterfeit and a fraud. The King James Version was created by a race of bone-crushers. It revives the primitive mysteries, revives rape, murder, incest, revives epilepsy, sadism, megalomania, revives demons, angels, dragons, leviathans, revives magic, exorcism, contagion, incantation, revives fratricide, regicide, patricide, suicide, revives hypnotism, anarchism, somnambulism, revives the song, the dance, the act, revives the mantic, the chthonian, the arcane, the mysterious, revives the power, the evil, and the glory that is God. All brought into the open on a colossal scale, and so salted and spiced that it will last until the next Ice Age. A classic purity, then-and to hell with the Post Office authorities! For what is it enables the classics to live at all, if indeed they be living on and not dying as we and all about us are dying? What preserves them against the ravages of time if it be not the salt that is in them? When I read Petronius or Apuleius or Rabelais, how close they seem! That salty tang! That odor of the menagerie! The smell of horse piss and lion’s dung, of tiger’s breath and elephant’s hide. Obscenity, lust, cruelty, boredom, wit. Real eunuchs. Real hermaphrodites. Real pricks. Real cunts. Real banquets! Rabelais rebuilds the walls of Paris with human cunts. Trimalchio tickles his own throat, pukes up his own guts, wallows in his own swill. In the amphitheater, where a big, sleepy pervert of a Caesar lolls dejectedly, the lions and the jackals, the hyenas, the tigers, the spotted leopards are crunching real human boneswhilst the coming men, the martyrs and imbeciles, are walking up the golden stairs shouting Hallelujah!

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

The history of New England, and especially of Massachusetts, is full of the horrors that have turned life into gloom, joy into despair, naturalness into disease, honesty and truth into hideous lies and hypocrisies. The ducking-stool and whipping post, as well as numerous other devices of torture, were the favorite English methods for American purification. Boston, the city of culture, has gone down in the annals of Puritanism as the “Bloody Town.” It rivaled Salem, even, in her cruel persecution of unauthorized religious opinions. On the now famous Common a half-naked woman, with a baby in her arms, was publicly whipped for the crime of free speech; and on the same spot Mary Dyer, another Quaker woman, was hanged in 1659. In fact, Boston has been the scene of more than one wanton crime committed by Puritanism. Salem, in the summer of 1692, killed eighteen people for witchcraft. Nor was Massachusetts alone in driving out the devil by fire and brimstone. As Canning justly said: “The Pilgrim fathers infested the New World to redress the balance of the Old.” The horrors of that period have found their most supreme expression in the American classic, THE SCARLET LETTER.

Suffice it to say I was compelled to create this group in order to find everyone who is, let's say, borrowing liberally from my INESTIMABLE FOLIO OF CANONICAL MASTERPIECES (sorry, I just do that sometimes), and get you all together. It's the least I could do. I mean, seriously. Those soliloquies in Moby-Dick? Sooo Hamlet and/or Othello, with maybe a little Shylock thrown in. Everyone from Pip in Great Expectations to freakin' Mr. Rochester in Jane Eyre mentions my plays, sometimes completely mangling my words in nineteenth-century middle-American dialect for humorous effect (thank you, Sir Clemens). Many people (cough Virginia Woolf cough) just quote me over and over again without attribution. I hear James Joyce even devoted a chapter of his giant novel to something called the "Hamlet theory," though do you have some sort of newfangled English? It looks like gobbledygook to me. The only people who don't seek me out are like Chaucer and Dante and those ancient Greeks. For whatever reason. And then there are the titles. The Sound and the Fury? Mine. Infinite Jest? Mine. Proust, Nabokov, Steinbeck, and Agatha Christie all have titles that are me-inspired. Brave New World? Not just the title, but half the plot has to do with my work. Even Edgar Allan Poe named a character after my Tempest's Prospero (though, not surprisingly, things didn't turn out well for him!). I'm like the star to every wandering bark, the arrow of every compass, the buzzard to every hawk and gillyflower ... oh, I don't even know what I'm talking about half the time. I just run with it, creating some of the SEMINAL TOURS DE FORCE OF THE ENGLISH LANGUAGE. You're welcome.

Those who have not learned to read the ancient classics in the language in which they were written must have a very imperfect knowledge of the history of the human race; for it is remarkable that no transcript of them has ever been made into any modern tongue, unless our civilization itself may be regarded as such a transcript. Homer has never yet been printed in English, nor AEschylus, nor Virgil even—works as refined,

THERE IS THEREFORE NOW NO CONDEMNATION. — ROMANS 8:1 Come, my soul, think about this. Believing in Jesus, you are actually and effectually cleared from guilt; you are led out of prison. You are no longer in chains as a slave; you are delivered now from the bondage of the law; you are freed from sin and can walk around as a free man—the Savior’s blood has procured your full acquittal. You now have a right to approach your Father’s throne

Those who have not learned to read the ancient classics in the language in which they were written must have a very imperfect knowledge of the history of the human race; for it is remarkable that no transcript of them has ever been made into any modern tongue, unless our civilization itself may be regarded as such a transcript. Homer has never yet been printed in English, nor Æschylus, nor Virgil even—works as refined, as solidly done, and as beautiful almost as the morning itself; for later writers, say what we will of their genius, have rarely, if ever, equalled the elaborate beauty and finish and the lifelong and heroic literary labors of the ancients. They only talk of forgetting them who never knew them. It will be soon enough to forget them when we have the learning and the genius which will enable us to attend to and appreciate them. That age will be rich indeed when those relics which we call Classics, and the still older and more than classic but even less known Scriptures of the nations, shall have still further accumulated, when the Vaticans shall be filled with Vedas and Zendavestas and Bibles, with Homers and Dantes and Shakespeares, and all the centuries to come shall have successively deposited their trophies in the forum of the world. By such a pile we may hope to scale heaven at last.

Wives, children, and goods must be had, and especially health, by him that can get it; but we are not so to set our hearts upon them that our happiness must have its dependence upon them; we must reserve a backshop, wholly our own and entirely free, wherein to settle our true liberty, our principal solitude and retreat. And in this we must for the most part entertain ourselves with ourselves, and so privately that no exotic knowledge or communication be admitted there; there to laugh and to talk, as if without wife, children, goods, train, or attendance, to the end that when it shall so fall out that we must lose any or all of these, it may be no new thing to be without them. We have a mind pliable in itself, that will be company; that has wherewithal to attack and to defend, to receive and to give: let us not then fear in this solitude to languish under an uncomfortable vacuity.

Everyone's here except for St. Clair." Meredith cranes her neck around the cafeteria. "He's usually running late." "Always," Josh corrects. "Always running late." I clear my throat. "I think I met him last night. In the hallway." "Good hair and an English accent?" Meredith asks. "Um.Yeah.I guess." I try to keep my voice casual. Josh smirks. "Everyone's in luuurve with St. Clair." "Oh,shut up," Meredith says. "I'm not." Rashmi looks at me for the first time, calculating whether or not I might fall in love with her own boyfriend. He lets go of her hand and gives an exaggerated sigh. "Well,I am. I'm asking him to prom. This is our year, I just know it." "This school has a prom?" I ask. "God no," Rashmi says. "Yeah,Josh. You and St. Clair would look really cute in matching tuxes." "Tails." The English accent makes Meredith and me jump in our seats. Hallway boy. Beautiful boy. His hair is damp from the rain. "I insist the tuxes have tails, or I'm giving your corsage to Steve Carver instead." "St. Clair!" Josh springs from his seat, and they give each other the classic two-thumps-on-the-back guy hug. "No kiss? I'm crushed,mate." "Thought it might miff the ol' ball and chain. She doesn't know about us yet." "Whatever," Rashi says,but she's smiling now. It's a good look for her. She should utilize the corners of her mouth more often. Beautiful Hallway Boy (Am I supposed to call him Etienne or St. Clair?) drops his bag and slides into the remaining seat between Rashmi and me. "Anna." He's surprised to see me,and I'm startled,too. He remembers me. "Nice umbrella.Could've used that this morning." He shakes a hand through his hair, and a drop lands on my bare arm. Words fail me. Unfortunately, my stomach speaks for itself. His eyes pop at the rumble,and I'm alarmed by how big and brown they are. As if he needed any further weapons against the female race. Josh must be right. Every girl in school must be in love with him. "Sounds terrible.You ought to feed that thing. Unless..." He pretends to examine me, then comes in close with a whisper. "Unless you're one of those girls who never eats. Can't tolerate that, I'm afraid. Have to give you a lifetime table ban." I'm determined to speak rationally in his presence. "I'm not sure how to order." "Easy," Josh says. "Stand in line. Tell them what you want.Accept delicious goodies. And then give them your meal card and two pints of blood." "I heard they raised it to three pints this year," Rashmi says. "Bone marrow," Beautiful Hallway Boy says. "Or your left earlobe." "I meant the menu,thank you very much." I gesture to the chalkboard above one of the chefs. An exquisite cursive hand has written out the morning's menu in pink and yellow and white.In French. "Not exactly my first language." "You don't speak French?" Meredith asks. "I've taken Spanish for three years. It's not like I ever thought I'd be moving to Paris." "It's okay," Meredith says quickly. "A lot of people here don't speak French." "But most of them do," Josh adds. "But most of them not very well." Rashmi looks pointedly at him. "You'll learn the lanaguage of food first. The language of love." Josh rubs his belly like a shiny Buddha. "Oeuf. Egg. Pomme. Apple. Lapin. Rabbit." "Not funny." Rashmi punches him in the arm. "No wonder Isis bites you. Jerk." I glance at the chalkboard again. It's still in French. "And, um, until then?" "Right." Beautiful Hallway Boy pushes back his chair. "Come along, then. I haven't eaten either." I can't help but notice several girls gaping at him as we wind our way through the crowd.

Alongside the development of theatres came the growth of an acting culture; in essence it was the birth of the acting profession. Plays had generally been performed by amateurs - often men from craft guilds. Towards the end of the sixteenth century there developed companies of actors usually under the patronage of a powerful or wealthy individual. These companies offered some protection against the threat of Puritan intervention, censorship, or closure on account of the plague. They encouraged playwrights to write drama which relied on ensemble playing rather than the more static set pieces associated with the classical tradition. They employed boys to play the parts of women and contributed to the development of individual performers. Audiences began to attend the theatre to see favourite actors, such as Richard Burbage or Will Kempe, as much as to see a particular play. Although the companies brought some stability and professionalism to the business of acting - for instance, Shakespeare's company, the Lord Chamberlain's, subsequently the King's, Men, continued until the theatres closed (1642) - they offered little security for the playwright. Shakespeare was in this respect, as in others, the exception to the rule that even the best-known and most successful dramatists of the period often remained financially insecure.

licotic adj. anxiously excited to introduce a friend to something you think is amazing—a classic album, a favorite restaurant, a TV show they’re lucky enough to watch for the very first time—which prompts you to continually poll their face waiting for the inevitable rush of awe, only to cringe when you discover all the work’s flaws shining through for the very first time. Old English licode, it pleased [you] + psychotic. Pronounced “lahy-kot-ic.

Literature is as old as human language, and as new as tomorrow's sunrise. And literature is everywhere, not only in books, but in videos, television, radio, CDs, computers, newspapers, in all the media of communication where a story is told or an image created. It starts with words, and with speech. The first literature in any culture is oral. The classical Greek epics of Homer, the Asian narratives of Gilgamesh and the Bhagavad Gita, the earliest versions of the Bible and the Koran were all communicated orally, and passed on from generation to generation - with variations, additions, omissions and embellishments until they were set down in written form, in versions which have come down to us. In English, the first signs of oral literature tend to have three kinds of subject matter - religion, war, and the trials of daily life - all of which continue as themes of a great deal of writing.

Commenting acidly on a writer whom I perhaps too naively admired, my old classics teacher put on his best sneer to ask: 'Wouldn't you say, Hitchens, that his writing was somewhat journalistic?' This lofty schoolmaster employed my name sarcastically, and stressed the last term as if he meant it to sting, and it rankled even more than he had intended. Later on in life, I found that I still used to mutter and improve my long-meditated reply. Émile Zola—a journalist. Charles Dickens—a journalist. Thomas Paine—another journalist. Mark Twain. Rudyard Kipling. George Orwell—a journalist par excellence. Somewhere in my cortex was the idea to which Orwell himself once gave explicit shape: the idea that 'mere' writing of this sort could aspire to become an art, and that the word 'journalist'—like the ironic modern English usage of the word 'hack'—could lose its association with the trivial and the evanescent.

By December 1975, a year had passed since Mr. Harvey had packed his bags, but there was still no sign of him. For a while, until the tape dirtied or the paper tore, store owners kept a scratchy sketch of him taped to their windows. Lindsey and Samuel walked in the neighboorhood or hung out at Hal's bike shop. She wouldn't go to the diner where the other kids went. The owner of the diner was a law and order man. He had blown up the sketch of George Harvey to twice its size and taped it to the front door. He willingly gave the grisly details to any customer who asked- young girl, cornfield, found only an elbow. Finallly Lindsey asked Hal to give her a ride to the police station. She wanted to know what exactly they were doing. They bid farewell to Samuel at the bike shop and Hal gave Lindsey a ride through a wet December snow. From the start, Lindsey's youth and purpose had caught the police off guard. As more and more of them realized who she was, they gave her a wider and wider berth. Here was this girl, focused, mad, fifteen... When Lindsey and Hal waited outside the captain's office on a wooden bench, she thought she saw something across the room that she recognized. It was on Detective Fenerman's desk and it stood out in the room because of its color. What her mother had always distinguished as Chinese red, a harsher red than rose red, it was the red of classic red lipsticks, rarely found in nature. Our mother was proud of her ability fo wear Chinese red, noting each time she tied a particular scarf around her neck that it was a color even Grandma Lynn dared not wear. Hal,' she said, every muscle tense as she stared at the increasingly familiar object on Fenerman's desk. Yes.' Do you see that red cloth?' Yes.' Can you go and get it for me?' When Hal looked at her, she said: 'I think it's my mother's.' As Hal stood to retrieve it, Len entered the squad room from behind where Lindsey sat. He tapped her on the shoulder just as he realized what Hal was doing. Lindsey and Detective Ferman stared at each other. Why do you have my mother's scarf?' He stumbled. 'She might have left it in my car one day.' Lindsey stood and faced him. She was clear-eyed and driving fast towards the worst news yet. 'What was she doing in your car?' Hello, Hal,' Len said. Hal held the scarf in his head. Lindsey grabbed it away, her voice growing angry. 'Why do you have m mother's scarf?' And though Len was the detective, Hal saw it first- it arched over her like a rainbow- Prismacolor understanding. The way it happened in algebra class or English when my sister was the first person to figure out the sum of x or point out the double entendres to her peers. Hal put his hand on Lindsey's shoulder to guide her. 'We should go,' he said. And later she cried out her disbelief to Samuel in the backroom of the bike shop.

English landscape was invented by gardeners imitating foreign painters who were evoking classical authors. The whole thing was brought home in the luggage from the grand tour. Here, look – Capability Brown doing Claude, who was doing Virgil. Arcadia! And here, superimposed by Richard Noakes, untamed nature in the style of Salvator Rosa. It’s the Gothic novel expressed in landscape. Everything but vampires. There’s an account of my hermit in a letter by your illustrious namesake.

Within a few moments he was immersed in his work. The evening before, he had caught up with the routine of his classwork; papers had been graded and lectures prepared for the whole week that was to follow. He saw the evening before hm, and several evenings more, in which he would be free to work on his book. What he wanted to do in this new book was not yet precisely clear to him; in general, he wished to extend himself beyond his first study, in both time and scope. He wanted to work in the period of the English Renaissance and to extend his study of classical and medieval Latin influences into that area. He was in the stage of planning his study, and it was that stage which gave him the most pleasure—the selection among alternative approaches, the rejection of certain strategies, the mysteries and uncertainties that lay in unexplored possibilities, the consequences of choice…. The possibilities he could see so exhilarated him that he could not keep still.

My first impression was of handsome women wearing classic evening gowns and marvelous tiaras and necklaces. I imagined those heirloom diamonds and pearls coming out of the family vault or the bank safe-deposit box especially for this gala evening. The men looked dignified in tuxedos, tails, or uniforms with ribbons and medals--very English and very military. This was the British aristocracy as I’d always imagined it--the epitome of long-standing tradition, secure in its lineage and customs.

And this love of definite conception, this clearness of vision, this artistic sense of limit, is the characteristic of all great work and poetry; of the vision of Homer as of the vision of Dante, of Keats and William Morris as of Chaucer and Theocritus. It lies at the base of all noble, realistic and romantic work as opposed to the colourless and empty abstractions of our own eighteenth-century poets and of the classical dramatists of France, or of the vague spiritualities of the German sentimental school: opposed, too, to that spirit of transcendentalism which also was root and flower itself of the great Revolution, underlying the impassioned contemplation of Wordsworth and giving wings and fire to the eagle- like flight of Shelley, and which in the sphere of philosophy, though displaced by the materialism and positiveness of our day, bequeathed two great schools of thought, the school of Newman to Oxford, the school of Emerson to America. Yet is this spirit of transcendentalism alien to the spirit of art. For the artist can accept no sphere of life in exchange for life itself. For him there is no escape from the bondage of the earth: there is not even the desire of escape. He is indeed the only true realist: symbolism, which is the essence of the transcendental spirit, is alien to him. The metaphysical mind of Asia will create for itself the monstrous, many-breasted idol of Ephesus, but to the Greek, pure artist, that work is most instinct with spiritual life which conforms most clearly to the perfect facts of physical life.

He was educated in the classics, and many mornings I would find him at the chef’s table reading one, especially Ali Bab’s Gastronomique Pratique, a work largely unknown in the English-speaking world but a bible for many French chefs in the early twentieth century, published in 1907, 637 pages of detailed, practical explanations of the dishes of the French repertoire. But Richard never made a thing from it. Nothing. Why do you read it? I asked. “To be provoked. People think I have such original ideas, but I don’t, not

How do you get into making video games anyway? Sadie hated answering this question, especially after a person told her he hadn't heard of Ichigo. "Well, I learned to program computers in middle school, I got an 800 on my math SAT, won a Westinghouse and a Leipzig, and then I went to MIT, which, by the way, is highly competitive, even for a lowly female like myself, and studied computer science. At MIT, I learned four or five more programming languages and studied psychology with an emphasis on ludic techniques and persuasive designs, and English, including narrative structures, the classics, and the history of interactive storytelling. Got myself a great mentor. Regrettably made him my boyfriend. Suffice it to say, I was young. And then I dropped out of school for a time to make a game because my best frenemy wanted me to. That game became the game you never heard of. But yeah, it sold around two and a half million copies, just in the U.S., so...." Instead, she said, "I like to play games a lot, so I thought I'd see if I could make them.

The English departments were clogged with worthy but outworn and backwardlooking scholars whose tastes in the moderns were most often superficial, random, and vulgar. Students who. wanted to write got little practical help from their professors. They studied the classics as monsters that were slowly losing their fur and feathers and leaking a little sawdust. What one did oneself was all chance and shallowness, and no profession seemed wispier and less needed than that of the poet. My own group, that of Tate and Ransom, was all for the high discipline, for putting on the full armor of the past, for making poetry something that would take a man's full weight and that would bear his complete intelligence, passion, and subtlety. Almost anything, the Greek and Roman classics, Elizabethan dramatic poetry, seventeenth-century metaphysical verse, old and modern critics, aestheticians and philosophers, could be suppled up and again made necessary. The struggle perhaps centered on making the old metrical forms usable again to express the depths of one's experience.

Interestingly, one influence was doing both sides of something—both of which were useful—A-levels: classics and maths. Which is a bloody schizophrenic choice but actually looking back, are the two things I would say that everybody ought to be taught. I think everybody ought to learn a language —not necessarily Latin or Greek, but a language like German which has case endings, which teaches you the rudiments of grammar because the benefit of that is you can then sit down and write an English sentence and know whether or not it’s okay.

I suppose that an American's approach to English literature must always be oblique. We share a language but not a landscape. In order to understand the English classics as adults, we must build up a sort of visual vocabulary from the books we read as children.... I contend that a child brought up on the nursery rhymes and Jacobs' English Fairy Tales can better understand Shakespeare; that a child who has pored over Beatrix Potter can better respond to Wordsworth. Of course it is best if one can find for himself a bank where the wild thyme grows, or discover daffodils growing wild. Failing that, the American child must feed the "inward eye" with the images in the books he reads when young so that he can enter a larger realm when he is older. I am sure I enjoyed the Bronte novels more for having read The Secret Garden first. As I stood on those moors, looking out over that wind-swept landscape I realized that it was Mrs. Burnett who taught me what "wuthering" meant long before I ever got around to reading Wuthering Heights. Epiphany comes at the moment of recognition.

By the close of the nineteenth century her studies with her father were being supplemented by tuition in the classics from Dr Warr of King’s College, Kensington, and from Clara Pater, sister of the English essayist and critic Walter Pater (1839–94). Woolf was very fond of Clara and an exchange between them later became the basis for her short story ‘Moments of Being: Slater’s Pins Have No Points’ (1928). Thoby boarded at Clifton College, Bristol, Adrian was a dayboy at Westminster School, and Vanessa attended Cope’s School of Art. Thoby, and later Adrian, eventually went to Trinity College, Cambridge, and Vanessa undertook training in the visual arts (attending the Slade School of Fine Art for a while). From 1902 Virginia’s tuition in classics passed from Clara Pater to the very capable Janet Case, one of the first graduates from Girton College, Cambridge, and a committed feminist. The sisters visited Cambridge a number of times to meet Thoby, whose friends there included Clive Bell 1881–1964), Lytton Strachey (1880– 1932), Leonard Woolf (1880–1969) and Saxon Sydney-Turner.

Zen Koans The koan is an enigmatic or paradoxical question used to develop a person’s Intuition.  Koans are a valuable tool in your quest for enlightenment, but how do they work and why use them? Koans work by confounding logic and forcing a person out of their normal thinking and into the realm of Intuition. In other words, the inherent meaning is inaccessible to rational understanding, but perhaps accessible to Intuition. This book presents some of the classic koans from traditional Zen, originally written hundreds of years ago in Japanese, and re-interpreted from early English translations into early 21st Century English. The underlying meaning is still there, so they will still work as a koan should, but they are expressed in language more easily understood by people in the 21st Century. Each koan encapsulates a profound truth for reflection. Zen counsels the lessening of the ego, not the strengthening of it as consumer culture would urge. Instead of making a name for ourselves in society, we should listen to the voice of pines and cedars when no wind stirs, in other words become no-thing, entering instead the field of pure being that is behind the phenomenal world.

In a lending library you see people's real tastes, not their pretended ones, and one thing that strikes you is how completely the 'classical' English novelists have dropped out of favour. It is simply useless to put Dickens, Thackeray, Jane Austen, Trollope, etc. into the ordinary lending library; nobody takes them out. At the mere sight of a nineteenth-century novel people say, 'Oh, but that's OLD!' and shy away immediately. Yet it is always fairly easy to SELL Dickens, just as it is always easy to sell Shakespeare. Dickens is one of those authors whom people are 'always meaning to' read,

In unfamiliar terrain, a plastic bag impaled on barbed wire is snapping in the breeze. Mules are skittish about that because they haven’t seen it before, and it reminds them of a predator. So the “muleteer” beats them there too. Eventually, when the mules tire of getting beaten, or are just fed up dealing with a less intelligent species, they use the tremendous power of their hind legs to kick out the tug chains and run away. For this, mules are known as “ornery.” In English we use the common phrase “stubborn as a mule,” a classic example of man ascribing stupidity to the beast instead of to himself.

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.

It could produce the most extraordinary consequences, as the life of C. B. Fry demonstrates. The son of a chief accountant at Scotland Yard, he had played in the FA Cup before he left Repton School in 1890 and appeared for Surrey county cricket team in the time between school and university (Oxford, inevitably, and the top scholarship at Wadham College). By the time of his graduation, he had represented the university at cricket, soccer and athletics, tied the world long-jump record at 23 feet 6½ inches, and only missed playing wing three-quarter for the Oxford rugby team because of injury. He managed, in passing, to win a first in classics.

There were a few exotics among them—some South American boys, sons of Argentine beef barons, one or two Russians, and even a Siamese prince, or someone who was described as a prince. Sim had two great ambitions. One was to attract titled boys to the school, and the other was to train up pupils to win scholarships at public schools, above all Eton. He did, towards the end of my time, succeed in getting hold of two boys with real English titles. One of them, I remember, was a wretched little creature, almost an albino, peering upwards out of weak eyes, with a long nose at the end of which a dew drop always seemed to be trembling. Sam always gave these boys their titles when mentioning them

Hegel did not deceive himself about the revolutionary character of his dialectic, and was even afraid that his Philosophy of Right would be banned. Nor was the Prussian state entirely easy in its mind for all its idealization. Proudly leaning on its police truncheon, it did not want to have its reality justified merely by its reason. Even the dull-witted King saw the serpent lurking beneath the rose: when a distant rumor of his state philosopher's teachings reached him he asked suspiciously: but what if I don't dot the I's or cross the T's? The Prussian bureaucracy meanwhile was grateful for the laurel wreath that had been so generously plaited for it, especially since the strict Hegelians clarified their master's obscure words for the understanding of the common subjects, and one of them wrote a history of Prussian law and the Prussian state, where the Prussian state was proved to be a gigantic harp strung in God's garden to lead the universal anthem. Despite its sinister secrets Hegel's philosophy was declared to be the Prussian state philosophy, surely one of the wittiest ironies of world history. Hegel had brought together the rich culture of German Idealism in one mighty system, he had led all the springs and streams of our classical age into one bed, where they now froze in the icy air of reaction. but the rash fools who imagined they were safely hidden behind this mass of ice, who presumptuously rejoiced who bold attackers fell from its steep and slippery slopes, little suspected that with the storms of spring the frozen waters would melt and engulf them. Hegel himself experienced the first breath of these storms. He rejected the July revolution of 1830, he railed at the first draft of the English Reform Bill as a stab in the 'noble vitals' of the British Constitution. Thereupon his audience left him in hordes and turned to his pupil Eduard Gans, who lectured on his master's Philosophy of Right but emphasized its revolutionary side and polemicized sharply against the Historical School of Law. At the time it was said in Berlin that the great thinker died from this painful experience, and not of the cholera.

The magics that were born here may have originated in the English landscape but they were informed from the very beginning by different cultures. The Druids were influenced by the Classical world, as was that world by India. Alchemy was influenced by Arabia, Medieval magic by Jewish cabbalism. The Golden Dawn was inspired by German Rosicrucianism, the French Occult Revival, and the religion of Ancient Egypt. Thelema was a result of Crowley’s explorations in Far and Near Eastern religion and magic, which informed Gardner’s Wicca too. For Dion Fortune, Christ, the Egyptian gods and the gods of the British Isles were equally inspiring, and as for Chaos magicians: they would claim the Universe and the world of physics as their inspiration.

If you comrades here already know materialism and dialectics, I would like to advise you to supplement your knowledge by some study of their opposites, that is, idealism and metaphysics. You should read Kant and Hegel and Confucius and Chiang Kai-shek, which are all negative stuff. If you know nothing about idealism and metaphysics, if you have never waged any struggle against them, your materialism and dialectics will not be solid. The shortcoming of some of our Party members and intellectuals is precisely that they know too little about the negative stuff. Having read a few books by Marx, they just repeat what is in them and sound rather monotonous. Their speeches and articles are not convincing. If you don’t study the negative stuff, you won’t be able to refute it. Neither Marx nor Engels nor Lenin was like that. They made great efforts to learn and study all sorts of things, contemporary and past, and taught other people to do likewise. The three component parts of Marxism came into being in the course of their study of, as well as their struggle with, such bourgeois things as German classical philosophy, English classical political economy and French utopian socialism. In this respect Stalin was not as good. For instance, in his time, German classical idealist philosophy was described as a reaction on the part of the German aristocracy to the French revolution. This conclusion totally negates German classical idealist philosophy. Stalin negated German military science, alleging that it was no longer of any use and that books by Clausewitz should no longer be read since the Germans had been defeated.” -Mao Zedong

When English author Anna Sewell wrote Black Beauty, in the late nineteenth century, she said that her aim was to “induce kindness, sympathy, and an understanding treatment of horses.” Though now considered a children’s classic, the book was originally intended for an adult audience. Narrated from the horse’s point of view, the novel describes Black Beauty’s life, from his earliest memory, of “a large pleasant meadow with a pond of clear water in it” to his wretched existence pulling a heavy load for a cruel peddler. The sentimental and emotionally wrenching book was wildly popular, quickly becoming a bestseller first in England and then in the United States, where it became a favorite of the progressive movement. Sewell’s book was the first to popularize interest in the plight of the horse and to generate widespread concern about the beast of burden’s treatment.

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.

1595, Richard Field, fellow-alumnus of the King Edward grammar school in Stratford-upon-Avon, printed The lives of the noble Grecians and Romanes, compared together by that grave learned philosopher and historiographer, Plutarke of Chaeronea: translated out of Greeke into French by James Amiot, abbot of Bellozane, Bishop of Auxerre, one of the Kings privie counsell, and great Amner of France, and out of French into English, by Thomas North. This was the book that got Shakespeare thinking seriously about politics: monarchy versus republicanism versus empire; the choices we make and their tragic consequences; the conflict between public duty and private desire. He absorbed classical thought, but was not enslaved to it. Shakespeare was a thinker who always made it new, adapted his source materials, and put his own spin on them. In the case of Plutarch, he feminized the very masculine Roman world. Brutus and Caesar are seen through the prism of their wives, Portia and Calpurnia; Coriolanus through his mother, Volumnia; Mark Antony through his lover, Cleopatra. Roman women were traditionally silent, confined to the domestic sphere. Cleopatra is the very antithesis of such a woman, while Volumnia is given the full force of that supreme Ciceronian skill, a persuasive rhetorical voice.40 Timon of Athens is alone and unhappy precisely because his obsession with money has cut him off from the love of, and for, women (the only females in Timon’s strange play are two prostitutes). Paradoxically, the very masculinity of Plutarch’s version of ancient history stimulated Shakespeare into demonstrating that women are more than the equal of men. Where most thinkers among his contemporaries took the traditional view of female inferiority, he again and again wrote comedies in which the girls are smarter than the boys—Beatrice in Much Ado about Nothing, Rosalind in As You Like It, Portia in The Merchant of Venice—and tragedies in which women exercise forceful authority for good or ill (Tamora, Cleopatra, Volumnia, and Cymbeline’s Queen in his imagined antiquity, but also Queen Margaret in his rendition of the Wars of the Roses).41

Next week is Beltane,” she reminded him. “Do you suppose we will make it through the wedding this time?” “Not if Gideon says you cannot get out of this bed,” he countered sternly. “Absolutely not!” she burst out, making him wince and cover the ear she’d been too close to. She immediately regretted her thoughtlessness, making a sad sound before reaching to kiss the ear she had offended with quiet gentleness. Jacob extricated himself from her hold enough to allow himself to turn and face her. “Okay, explain what you meant,” he said gently. “I refuse to wait another six months. We are getting married on Beltane, come hell or . . . necromancers . . . or . . . the creature from the Black Lagoon. There is no way Corrine is going to be allowed to get married without me getting married, too. I refuse to listen to her calling me the family hussy for the rest of the year.” “What does it matter what she says?” Jacob sighed as he reached to touch the soft contours of her face. “You and I are bonded in a way that transcends marriage already. Is that not what is important?” “No. What’s important is the fact that I am going to murder the sister I love if she doesn’t quit. And she will not quit until I shut her up either with a marriage or a murder weapon. Understand?” Clearly, by his expression, Jacob did not understand. “Thank Destiny all I have is a brother,” he said dryly. “I have been inundated with people tied into knots over one sister or another for the past weeks.” “You mean Legna. Listen, it’s not her fault if everyone has their shorts in a twist because of who her Imprinted mate is! Frankly, I think she and Gideon make a fabulous couple. Granted, a little too gorgeously ‘King and Queen of the Prom’ perfect for human eyes to bear looking at for long, but fabulous just the same.” Jacob blinked in confusion as he tried to decipher his fiancée’s statement. Even after all these months, she still came out with unique phraseologies that totally escaped his more classic comprehension of the English language. But he had gotten used to just shrugging his confusion off, blaming it on the fact that English wasn’t his first, second, or third language, so it was to be expected. “Anyway,” she went on, “Noah and Hannah need to chill. You saw Legna when she came to visit yesterday. If a woman could glow, she was as good as radioactive.” She smiled sweetly at him. “That means,” she explained, “that she looks as brilliantly happy as you make me feel.” “I see,” he chuckled. “Thank you for the translation.” He reached his arms around her, drawing her body up to his as close as he could considering the small matter of a fetal obstacle. He kissed her inviting mouth until she was breathless and glowing herself. “I thought I would be kind to you,” she explained with a laugh against his mouth. “You, my love, are all heart.” “And you are all pervert. Jacob!” She laughed as she swatted one of his hands away from intimate places, only to be shanghaied by another. “What would Gideon say?” “He better not say anything, because if he did that would mean he was in here while you are naked. And that, little flower, would probably cost him his vocal chords in any event.” “Oh. Well . . . when you put it that way . . .

I sipped my hot, sweet, milky tea, feeling myself settle, center. I couldn't possibly stay in a state of high emotion, and there was a lot to get through in the next few days or weeks. Right this minute, I could enjoy this table in a bakery in a small English village. The place was clearing out, and the chelsea bun beckoned. It was a coil of pastry laced with currants and a hint of lemon zest, quite sweet. I gave it the attention it deserved, since a person couldn't be pigging out on pastries and eggs and bacon all the time. Not me, anyway. Unlike my slender mother, I was built of rounder stuff, and I hadn't been able to walk as much as was my habit. In the meantime, the tea was excellent, served in a sturdy silver pot with a mug that didn't seem to match any other mug on the tables. The room smelled of yeast and coffee and cinnamon and the perfume of a woman who had walked by. Light classical music played quietly. From the kitchen came voices engaged in the production of all the goods in the case. A rich sense of well-being spread through me, and I realized that my leg didn't hurt at all.

Androgyny, which some feminists promote as a pacifist blueprint for sexual utopia, belongs to the contemplative rather than active life. It is the ancient prerogative of priests, shamans, and artists. Feminists have politicized it as a weapon against the masculine principle. Redefined, it now means men must be like women and women can be whatever they like. Androgyny is a cancellation of male concentration and projection. Prescriptions for the future by bourgeois academics and writers carry their own bias. The reform of a college English department cuts no ice down at the corner garage. Male concentration and projection are visible everywhere in the aggressive energy of the streets. Fortunately, male homosexuals of every social class have preserved the cult of the masculine, which will therefore never lose its aesthetic legitimacy. Major peaks of western culture have been accompanied by a high incidence of male homosexuality—in classical Athens and Renaissance Florence and London. Male concentration and projection are self-enhancing, leading to supreme achievements of Apollonian conceptualization.

Well, it's interesting this, because sometimes you come across an experience for which the language lacks a word. You might find that this word exists in another language. I was informed by a classics professor yesterday at Princeton - we were talking about this very thing - that the word does exist. It's called 'energia.' That is that complete loss of self in an absorbing task. Now, the trouble is that the word 'energy' is already firmly staked out for us in English. Psychologists have suggested the word 'flow.' I don't think that quite does it. There is a form of intense human happiness, often not recognized in the moment, that comes from losing yourself in something difficult. You cease to be aware of time; you cease to be aware of self; you experience no particular emotion because you are inseparable from the task. And sometimes it can happen with something as complex as writing, but it can also come with the making of a good meal. A game of tennis, a team game can do it too - you forget that you exist, everything goes except the matter in hand. It's bliss. I wish it happened to me in writing more often.

The round, unformed script on the fly-leaf said, Francis Crawford of Lymond. She stared at it; then put it down and picked up another. The writing in this one was older; the neat level hand she had seen once before, in Stamboul. This time it said only, The Master of Culter. That dated it after the death of his father, when until the birth of Richard’s son Kevin, the heir’s rank and title were Lymond’s. And all the books were his, too. She scanned them: some works in English; others in Latin and Greek, French, Italian and Spanish.… Prose and verse. The classics, pressed together with folios on the sciences, theology, history; bawdy epistles and dramas; books on war and philosophy; the great legends. Sheets and volumes and manuscripts of unprinted music. Erasmus and St Augustine, Cicero, Terence and Ptolemy, Froissart and Barbour and Dunbar; Machiavelli and Rabelais, Bude and Bellenden, Aristotle and Copernicus, Duns Scotus and Seneca. Gathered over the years; added to on infrequent visits; the evidence of one man’s eclectic taste. And if one studied it, the private labyrinth, book upon book, from which the child Francis Crawford had emerged, contained, formidable, decorative as his deliberate writing, as the Master of Culter.

In my introduction to Warriors, the first of our crossgenre anthologies, I talked about growing up in Bayonne, New Jersey, in the 1950s, a city without a single bookstore. I bought all my reading material at newsstands and the corner “candy shops,” from wire spinner racks. The paperbacks on those spinner racks were not segregated by genre. Everything was jammed in together, a copy of this, two copies of that. You might find The Brothers Karamazov sandwiched between a nurse novel and the latest Mike Hammer yarn from Mickey Spillane. Dorothy Parker and Dorothy Sayers shared rack space with Ralph Ellison and J. D. Salinger. Max Brand rubbed up against Barbara Cartland. A. E. van Vogt, P. G. Wodehouse, and H. P. Lovecraft were crammed in with F. Scott Fitzgerald. Mysteries, Westerns, gothics, ghost stories, classics of English literature, the latest contemporary “literary” novels, and, of course, SF and fantasy and horror—you could find it all on that spinner rack, and ten thousand others like it. I liked it that way. I still do. But in the decades since (too many decades, I fear), publishing has changed, chain bookstores have multiplied, the genre barriers have hardened. I think that’s a pity. Books should broaden us, take us to places we have never been and show us things we’ve never seen, expand our horizons and our way of looking at the world. Limiting your reading to a single genre defeats that. It limits us, makes us smaller. It seemed to me, then as now, that there were good stories and bad stories, and that was the only distinction that truly mattered.

Of course L has not been reading the Odyssey the whole time. The pushchair is also loaded with White Fang, VIKING!, Tar-Kutu: Dog of the Frozen North, Marduk: Dog of the Mongolian Steppes, Pete: Black Dog of the Dakota, THE CARNIVORES, THE PREDATORS, THE BIG CATS and The House at Pooh Corner. For the past few days he has also been reading White Fang for the third time. Sometimes we get off the train and he runs up and down the platform. Sometimes he counts up to 100 or so in one or more languages while eyes glaze up and down the car. Still he has been reading the Odyssey enough for a straw poll of Circle Line opinion on the subject of small children & Greek. Amazing: 7 Far too young: 10 Only pretending to read it: 6 Excellent idea as etymology so helpful for spelling: 19 Excellent idea as inflected languages so helpful for computer programming: 8 Excellent idea as classics indispensable for understanding of English literature: 7 Excellent idea as Greek so helpful for reading New Testament, camel through eye of needle for example mistranslation of very similar word for rope: 3 Terrible idea as study of classical languages embedded in educational system productive of divisive society: 5 Terrible idea as overemphasis on study of dead languages directly responsible for neglect of sciences and industrial decline and uncompetitiveness of Britain: 10 Stupid idea as he should be playing football: 1 Stupid idea as he should be studying Hebrew & learning about his Jewish heritage: 1 Marvellous idea as spelling and grammar not taught in schools: 24 (Respondents: 35; Abstentions: 1,000?) Oh, & almost forgot: Marvellous idea as Homer so marvellous in Greek: 0 Marvellous idea as Greek such as marvellous language: 0 Oh & also: Marvellous idea but how did you teach it to a child that young: 8

Comus. The Star that bids the Shepherd fold, Now the top of Heav'n doth hold, And the gilded Car of Day, [ 95 ] His glowing Axle doth allay In the steep Atlantick stream, And the slope Sun his upward beam Shoots against the dusky Pole, Pacing toward the other gole [ 100 ] Of his Chamber in the East. Mean while welcom Joy, and Feast, Midnight shout, and revelry, Tipsie dance and Jollity. Braid your Locks with rosie Twine [ 105 ] Dropping odours, dropping Wine. Rigor now is gone to bed, And Advice with scrupulous head, Strict Age, and sowre Severity, With their grave Saws in slumber ly. [ 110 ] We that are of purer fire Imitate the Starry Quire, Who in their nightly watchfull Sphears, Lead in swift round the Months and Years. The Sounds, and Seas with all their finny drove [ 115 ] Now to the Moon in wavering Morrice move, And on the Tawny Sands and Shelves, Trip the pert Fairies and the dapper Elves; By dimpled Brook, and Fountain brim, The Wood-Nymphs deckt with Daisies trim, [ 120 ] Their merry wakes and pastimes keep: What hath night to do with sleep? Night hath better sweets to prove, Venus now wakes, and wak'ns Love. Com let us our rights begin, [ 125 ] Tis onely day-light that makes Sin, Which these dun shades will ne're report. Hail Goddesse of Nocturnal sport Dark vaild Cotytto, t' whom the secret flame Of mid-night Torches burns; mysterious Dame [ 130 ] That ne're art call'd, but when the Dragon woom Of Stygian darknes spets her thickest gloom, And makes one blot of all the ayr, Stay thy cloudy Ebon chair, Wherin thou rid'st with Hecat', and befriend [ 135 ] Us thy vow'd Priests, till utmost end Of all thy dues be done, and none left out, Ere the blabbing Eastern scout, The nice Morn on th' Indian steep From her cabin'd loop hole peep, [ 140 ] And to the tel-tale Sun discry Our conceal'd Solemnity. Com, knit hands, and beat the ground, In a light fantastick round.

In his classic study Elegant Nightmares: The English Ghost Story from LeFanu to Blackwood, the American scholar Jack Sullivan divides traditional tales of the supernatural into two camps: the antiquarian and the visionary. The former is typified by a certain emotional detachment, coupled with subtle irony and a dry, precise evocation of a world that is recognizably our own, inhabited by sensible characters—male Edwardian antiquaries whose stolidity borders on dullness, and whose invocation of horrors is as inadvertent as it is irrevocable. The antiquarian ghost story is typified by the work of the English don M. R. (Montague Rhodes) James, himself inspired by the more open-ended horror of his Irish predecessor, Sheridan LeFanu. As Sullivan puts it, “For LeFanu’s characters, reality is inherently dark and deadly; for James’ antiquaries, darkness must be sought out through research and discovery.” The visionary ghost story, in contract, has more in common with the robust stream of American transcendentalism that emerged in the late 19th century, as well as with the hermetic and decadent artistic movements popular in fin de siècle Europe. Little surprise, then, that one of the most successful visionary writers, the British-born Algernon Blackwood, based his most rapturous and terrifying tales on his experiences in the Canadian wilderness, or that the other great supernatural visionary, the Welsh Arthur Machen, was a friend of Arthur Edward Waite, a member of the Order of the Golden Dawn, and drew upon Celtic myth in his short fiction. Sullivan identified a later, third stream in supernatural writing in Lost Souls, the companion volume to Elegant Nightmares: he simply calls it the contemporary ghost story, a capacious portmanteau term that makes room for writers such as Robert Aickman, Walter de la Mare, Elizabeth Bowen and Ramsey Campbell. To this list I’d add Peter Straub, Kelly Link, Glen Hirshberg, and now, with the publication of Mr. Gaunt and Other Uneasy Encounters, John Langan.

Once, books appealed to a few people, here, there, everywhere. They could afford to be different. The world was roomy. But then the world got full of eyes and elbows and mouths. Double, triple, quadruple population. Films and radios, magazines, books levelled down to a sort of paste pudding norm [...]. [...] Nineteenth-century man with his horses, dogs, carts, slow motion. Then, in the twentieth century, speed up your camera. Books cut shorter. Condensations, Digests. Tabloids. Everything boils down to the gag, the snap ending. [...] Classics cut to fit fifteen-minute radio shows, then cut again to fill a two-minute book column, winding up at last as a ten- or twelve-line dictionary resume. I exaggerate, of course. The dictionaries were for reference. But many were those whose sole knowledge of Hamlet [...] was a one-page digest in a book that claimed: "now at least you can read all the classics; keep up with your neighbors". Do you see? Out of the nursery into the college and back to the nursery; there's your intellectual pattern for the past five centuries or more. [...] Speed up the film, Montag, quick. Click? Pic, Look, Eye, Now, Flick, Here, There, Swift, Pace, Up, Down, In, Out, Why, How, Who, What, Where, Eh? Uh! Bang! Smack! Wallop, Bing, Bong, Boom! Digest-digests, digest-digest-digests. Politics? One column, two sentences, a headline! Then, in mid-air, all vanishes! Whirl man's mind around about so fast under the pumping hands of publishers, exploiters, broadcasters, that the centrifuge flings off all unnecessary, time-wasting thought! [...] School is shortened, discipline relaxed, philosophies, histories, languages dropped, English and spelling gradually neglected, finally almost completely ignored. Life is immediate, the job counts, pleasure lies all about after work. Why learn anything save pressing buttons, pulling switches, fitting nuts and bolts? [...] The zipper displaces the button and a man lacks just that much time to think while dressing at dawn, a philosophical hour, and thus a melancholy hour. [...] Life becomes one big pratfall, Montag; everything bang, boff, and wow!

BITCH THE POT Tea and gossip go together. At least, that’s the stereotypical view of a tea gathering: a group of women gathered around the teapot exchanging tittle-tattle. As popularity of the beverage imported from China (‘tea’ comes from the Mandarin Chinese cha) increased, it became particularly associated with women, and above all with their tendency to gossip. Francis Grose’s Classical Dictionary of the Vulgar Tongue lists various slang terms for tea, including ‘prattle-broth’, ‘cat-lap’ (‘cat’ being a contemporary slang for a gossipy old woman), and ‘scandal broth’. To pour tea, meanwhile, was not just to ‘play mother’, as one enduring English expression has it, but also to ‘bitch the pot’ – to drink tea was to simply ‘bitch’. At this time a bitch was a lewd or sensual woman as well as a potentially malicious one, and in another nineteenth-century dictionary the phraseology is even more unguarded, linking tea with loose morals as much as loquaciousness: ‘How the blowens [whores] lush the slop. How the wenches drink tea!’ The language of tea had become another vehicle for sexism, and a misogynistic world view in which the air women exchanged was as hot as the beverage they sipped. ‘Bitch party’ and ‘tabby party’ (again the image of cattiness) were the terms of choice for such gossipy gatherings. Men, it seems, were made of stronger stuff, and drank it too. Furthermore, any self-respecting man would ensure his wife and daughters stayed away from tea. The pamphleteer and political writer William Cobbett declared in 1822: The gossip of the tea-table is no bad preparatory school for the brothel. The girl that has been brought up, merely to boil the tea kettle, and to assist in the gossip inseparable from the practice, is a mere consumer of food, a pest to her employer, and a curse to her husband, if any man be so unfortunate as to affix his affections upon her. In the twenty-first century, to ‘spill the T’ has become a firm part of drag culture slang for gossiping. T here may stand for either ‘truth’ or the drink, but either way ‘weak tea’ has come to mean a story that doesn’t quite hold up – and it’s often one told by women. Perhaps it’s time for bitches to make a fresh pot.

We dare not be original; our American Pine must be cut to the trim pattern of the English Yew, though the Pine bleed at every clip. This poet tunes his lyre at the harp of Goethe, Milton, Pope, or Tennyson. His songs might better be sung on the Rhine than the Kennebec. They are not American in form or feeling; they have not the breath of our air; the smell of our ground is not in them. Hence our poet seems cold and poor. He loves the old mythology; talks about Pluto—the Greek devil,—— the Fates and Furies—witches of old time in Greece,—-but would blush to use our mythology, or breathe the name in verse of our Devil, or our own Witches, lest he should be thought to believe what he wrote. The mother and sisters, who with many a pinch and pain sent the hopeful boyto college, must turn over the Classical Dictionary before they can find out what the youth would be at in his rhymes. Our Poet is not deep enough to see that Aphrodite came from the ordinary waters, that Homer only hitched into rhythm and furnished the accomplishment of verse to street talk, nursery tales, and old men’s gossip, in the Ionian towns; he thinks what is common is unclean. So he sings of Corinth and Athens, which he never saw, but has not a word to say of Boston, and Fall River, and Baltimore, and New York, which are just as meet for song. He raves of Thermopylae and Marathon, with never a word for Lexington and Bunkerhill, for Cowpens, and Lundy’s Lane, and Bemis’s Heights. He loves to tell of the Ilyssus, of “ smooth sliding Mincius, crowned with vocal reeds,” yet sings not of the Petapsco, the Susquehannah, the Aroostook, and the Willimantick. He prates of the narcissus, and the daisy, never of American dandelions andbue-eyed grass; he dwells on the lark and the nightingale, but has not a thought for the brown thrasher and the bobolink, who every morning in June rain down such showers of melody on his affected head. What a lesson Burns teaches us addressing his “rough bur thistle,” his daisy, “wee crimson tippit thing,” and finding marvellous poetry in the mouse whose nest his plough turned over! Nay, how beautifully has even our sweet Poet sung of our own Green river, our waterfowl,of the blue and fringed gentian, the glory of autumnal days.

Look around on your next plane trip. The iPad is the new pacifier for babies and toddlers… Parents and other passengers read on Kindles… Unbeknownst to most of us, an invisible, game-changing transformation links everyone in this picture: the neuronal circuit that underlies the brain’s ability to read is subtly, rapidly changing… As work in neurosciences indicates, the acquisition of literacy necessitated a new circuit in our species’ brain more than 6,000 years ago… My research depicts how the present reading brain enables the development of some of our most important intellectual and affective processes: internalized knowledge, analogical reasoning, and inference; perspective-taking and empathy; critical analysis and the generation of insight. Research surfacing in many parts of the world now cautions that each of these essential “deep reading” processes may be under threat as we move into digital-based modes of reading… Increasing reports from educators and from researchers in psychology and the humanities bear this out. English literature scholar and teacher Mark Edmundson describes how many college students actively avoid the classic literature of the 19thand 20th centuries because they no longer have the patience to read longer, denser, more difficult texts. We should be less concerned with students’ “cognitive impatience,” however, than by what may underlie it: the potential inability of large numbers of students to read with a level of critical analysis sufficient to comprehend the complexity of thought and argument found in more demanding texts… Karin Littau and Andrew Piper have noted another dimension: physicality. Piper, Littau and Anne Mangen’s group emphasize that the sense of touch in print reading adds an important redundancy to information – a kind of “geometry” to words, and a spatial “thereness” for text. As Piper notes, human beings need a knowledge of where they are in time and space that allows them to return to things and learn from re-examination – what he calls the “technology of recurrence”. The importance of recurrence for both young and older readers involves the ability to go back, to check and evaluate one’s understanding of a text. The question, then, is what happens to comprehension when our youth skim on a screen whose lack of spatial thereness discourages “looking back.

Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget.

Daoist Ordination – Receiving a valid “Lu” 收录 Register Since returning to the US, and living in Los Angeles, many (ie, truly many) people have come to visit my office and library, asking about Daoist "Lu" 录registers, and whether or not they can be purchased from self declared “Daoist Masters” in the United States. The Daoist Lu register and ordination ritual can only be transmitted in Chinese, after 10+ years of study with a master, learning how to chant Zhengyi or Quanzhen music and liturgy, including the Daoist drum, flute, stringed instruments, and mudra, mantra, and visualization of spirits, where they are stored in the body, how they are summoned forth, for which one must be able to use Tang dynasty pronunciation of classical Chinese texts, ie “Tang wen” 唐文, to be effective and truly transmitted. Daoist meditation and ritual 金录醮，黄录斋 must all be a part of one's daily practice before going to Mt Longhu Shan and passing the test, which qualifies a person for one of the 9 grades of ordination (九品) the lowest of which is 9, highest is 1; grades 6 and above are never taught at Longhu Shan, only recognized in a "test", and awarded an appropriate grade ie rank, or title. Orthodox Longhu Shan Daoists may only pass on this knowledge to one offspring, and one chosen disciple, once in a lifetime, after which they must "pass on" (die) or be "wafted to heaven." Longmen Quanzhen Daoists, on the other hand, allow their knowledge to be transmitted and practiced, in classical Chinese, after living in a monastery and daily practice as a monk or nun. “Dao for $$$” low ranking Daoists at Longhu Shan accept money from foreign (mostly USA) commercial groups, and award illegitimate "licenses" for a large fee. Many (ie truly many) who have suffered from the huge price, and wrongful giving of "documents" have asked me this question, and shown me the documents they received. In all such cases, it is best to observe the warning of Confucius, "respect demonic spirits but keep a distance" 敬鬼神而遠之. One can study from holy nuns at Qingcheng shan, and Wudangshan, but it is best to keep safely away from “for profit” people who ask fees for going to Longhu Shan and receiving poorly translated English documents. It is a rule of Daoism, Laozi Ch 67, to respect all, with compassion, and never put oneself above others. The reason why so many Daoist and Buddhist masters do not come to the US is because of this commercial ie “for profit” instead of spiritual use, made from Daoist practices which must never be sold, or money taken for teaching / practicing, in which case true spiritual systems become ineffective. The ordination manual itself states the strict rule that the highly secret talisman, drawn with the tongue on the hard palate of the true Daoist, must never be drawn out in visible writing, or shown to anyone. Many of the phony Longhu Shan documents shown to me break this rule, and are therefore ineffective as well as law breaking. Respectfully submitted, 敬上 3-28-2015

Keynes was a voracious reader. He had what he called ‘one of the best of all gifts – the eye which can pick up the print effortlessly’. If one was to be a good reader, that is to read as easily as one breathed, practice was needed. ‘I read the newspapers because they’re mostly trash,’ he said in 1936. ‘Newspapers are good practice in learning how to skip; and, if he is not to lose his time, every serious reader must have this art.’ Travelling by train from New York to Washington in 1943, Keynes awed his fellow passengers by the speed with which he devoured newspapers and periodicals as well as discussing modern art, the desolate American landscape and the absence of birds compared with English countryside.54 ‘As a general rule,’ Keynes propounded as an undergraduate, ‘I hate books that end badly; I always want the characters to be happy.’ Thirty years later he deplored contemporary novels as ‘heavy-going’, with ‘such misunderstood, mishandled, misshapen, such muddled handling of human hopes’. Self-indulgent regrets, defeatism, railing against fate, gloom about future prospects: all these were anathema to Keynes in literature as in life. The modern classic he recommended in 1936 was Forster’s A Room with a View, which had been published nearly thirty years earlier. He was, however, grateful for the ‘perfect relaxation’ provided by those ‘unpretending, workmanlike, ingenious, abundant, delightful heaven-sent entertainers’, Agatha Christie, Edgar Wallace and P. G. Wodehouse. ‘There is a great purity in these writers, a remarkable absence of falsity and fudge, so that they live and move, serene, Olympian and aloof, free from any pretended contact with the realities of life.’ Keynes preferred memoirs as ‘more agreeable and amusing, so much more touching, bringing so much more of the pattern of life, than … the daydreams of a nervous wreck, which is the average modern novel’. He loved good theatre, settling into his seat at the first night of a production of Turgenev’s A Month in the Country with a blissful sigh and the words, ‘Ah! this is the loveliest play in all the world.’55 Rather as Keynes was a grabby eater, with table-manners that offended Norton and other Bloomsbury groupers, so he could be impatient to reach the end of books. In the inter-war period publishers used to have a ‘gathering’ of eight or sixteen pages at the back of their volumes to publicize their other books-in-print. He excised these advertisements while reading a book, so that as he turned a page he could always see how far he must go before finishing. A reader, said Keynes, should approach books ‘with all his senses; he should know their touch and their smell. He should learn how to take them in his hands, rustle their pages and reach in a few seconds a first intuitive impression of what they contain. He should … have touched many thousands, at least ten times as many as he reads. He should cast an eye over books as a shepherd over sheep, and judge them with the rapid, searching glance with which a cattle-dealer eyes cattle.’ Keynes in 1927 reproached his fellow countrymen for their low expenditure in bookshops. ‘How many people spend even £10 a year on books? How many spend 1 per cent of their incomes? To buy a book ought to be felt not as an extravagance, but as a good deed, a social duty which blesses him who does it.’ He wished to muster ‘a mighty army … of Bookworms, pledged to spend £10 a year on books, and, in the higher ranks of the Brotherhood, to buy a book a week’. Keynes was a votary of good bookshops, whether their stock was new or second-hand. ‘A bookshop is not like a railway booking-office which one approaches knowing what one wants. One should enter it vaguely, almost in a dream, and allow what is there freely to attract and influence the eye. To walk the rounds of the bookshops, dipping in as curiosity dictates, should be an afternoon’s entertainment.

Surely this is the very essence and nature of faith, which not only brings us into contact with the great Substitute, but also teaches us to lean upon Him with all the burden of our guilt. Jehovah made all the offenses of His covenant people rest upon the Substitute, and each one of the chosen is brought personally to confirm this solemn covenant act, when by grace he is enabled by faith to lay his hand upon the head of the Lamb that was slain before the foundation of the world.

Death is no longer banishment; it is a return from exile, a going home to the many mansions where the loved ones are already living. The distance between glorified spirits in heaven and militant saints on earth seems great; but it is not. We are not far from home—a moment will bring us there

Dark providences we’ve never understood will then be clearly seen, and all that puzzles us now will become plain to us in the light of the Lamb.

If our eyes were not blinded by the dust of sin, we should see horses of fire and chariots of fire round about the Lord’s servants.

Sins against a holy God; Sins against His righteous laws; Sins against His love, His blood; Sins against His name and cause; Sins immense as is the sea— From them all He cleanseth me

Therefore, seeing that it is the word of a God so true, so immutable, so powerful, so wise, I will and must believe the promise.” If in this way we meditate upon the promises and consider the Promiser, we shall experience their sweetness and obtain their fulfillment

Godliness is something more than religion. Make God’s glory your object in life; live in His sight; dwell close to Him; seek fellowship with Him; then you will have “godliness

Fully conscious of his own lost estate and of the deceitfulness and vileness of his nature, yet, by a glorious outburst of faith, he sings, “Nevertheless, I am continually with you.” Believer, you are forced to enter into Asaph’s confession and acknowledgment; endeavor in like spirit to say “nevertheless, since I belong to Christ I am continually with God!

The Lord Jesus by His messengers, His Word, and His Spirit sweetly and graciously compels men to come in, that they may eat of His marriage supper; and this He does not by any violation of the free agency of man, but by the power of His grace

The French had shown themselves the ablest architects of ruin that had hitherto existed in the world. In that very short space of time they had completely pulled down to the ground their monarchy, their church, their nobility, their law, their revenue, their army, their navy, their commerce, their arts, and their manufactures. Burke, speech in the House of Commons (1790)

Many, perhaps most, Americans,” one observer commented in 1994, “still see their nation as a European settled country, whose laws are an inheritance from England, whose language is (and should remain) English, whose institutions and public buildings find inspiration in Western classical norms, whose religion has Judeo-Christian roots, and whose greatness initially arose from the Protestant work ethic.

The night of affliction is just as much under the arrangement and control of the Lord of Love as the bright summer days when all is bliss. Jesus is in the tempest.

The enemy is so securely entrenched within us that he can never be driven out while we are in this body: But although we are closely followed, and often in fierce conflict, we have an Almighty helper, Jesus, the Captain of our salvation, who is always with us and who assures us that we shall eventually be more than conquerors through Him.

We trust Him, and sin dies; we love Him, and grace lives; we wait for Him, and grace is strengthened; we see Him as he is, and grace is perfected forever.

There is no ideal place for us to serve God except the place He sets us down.

Am I rooted in sincere fidelity and love to Jesus? If my heart remains unsoftened and unfertilized by grace, the good seed may germinate for a season, but it must ultimately wither, for it cannot flourish on a rocky, unbroken, unsanctified heart. Let me dread a godliness as rapid in growth and as lacking in endurance as Jonah’s vine; let me count the cost of being a follower of Jesus. Above all let me feel the energy of His Holy Spirit, and then I shall possess an abiding and enduring seed in my soul. If my mind remains as stubborn as it was by nature, the sun of trial will scorch, and my hard heart will help cast the heat the more terribly upon the ill-covered seed, and my religion will soon die, and my despair will be terrible. Therefore, O heavenly Sower, plow me first, and then cast the truth into me, and let me yield a bounteous harvest

As a shepherd Abel sanctified his work to the glory of God and offered a sacrifice of blood upon his altar, and the Lord had respect unto Abel and his offering. This early type, a foreshadowing of our Lord, is exceedingly clear and distinct. Like the first streak of light that tinges the east at sunrise, it does not reveal everything, but it clearly manifests the great fact that the sun is coming. As we see Abel, a shepherd and yet a priest, offering a sacrifice of sweet fragrance unto God, we discern our Lord, who brings before His Father a sacrifice to which Jehovah ever has respect

Remember this, Christian, and let it comfort you. However difficult and painful your road, it is marked by the footsteps of your Savior; and even when you reach the dark valley of the shadow of death and the deep waters of the swelling Jordan, you will find His footprints there

How great is a Father’s love to his children! That which friendship cannot do, and mere benevolence will not attempt, a father’s heart and hand must do for his sons. They are his offspring, and he must bless them; they are his children, and he must show himself strong in their defense. If an earthly father watches over his children with unceasing love and care, how much more does our heavenly Father?

If Jesus has done such marvelous things on your behalf, you will feel that heaven itself is not too great for your expectation. Who can be astonished at anything when he has once been astonished at the manger and the cross?

Oh, strange infatuation that you, who has borrowed everything, should think of exalting yourself—a poor, dependent pensioner upon the bounty of your Savior, one who has a life that dies without fresh streams of life from Jesus, and yet is proud! Fie on you, O silly heart!

The first thing for our soul’s health, the first thing for His glory, and the first thing for our own usefulness is to keep ourselves in perpetual communion with the Lord Jesus and to see that the vital spirituality of our faith is maintained over and above everything else in the world.

1 There is no cry so good as that which comes from the bottom of the mountains, no prayer half so hearty as that which comes up from the depths of the soul, through deep trials and afflictions. They bring us to God, and we are happier; for nearness to God is happiness. Come, troubled believer, do not fret over your heavy troubles, for they are the heralds of weighty mercies.

od the Father revealed Himself to Old Testament believers before the coming of His Son and was known to Abraham, Isaac, and Jacob as God Almighty. Then Jesus came, and the ever-blessed Son in His own proper person was the delight of His people’s eyes. At the time of the Redeemer’s ascension, the Holy Spirit became the head of the present era, and His power was gloriously displayed in and after Pentecost. He remains at this hour the present Immanuel—God with us, dwelling in and with His people, quickening, guiding, and ruling in our lives.

Use the hammer of diligence, and let the knee of prayer be exercised, and there is not a stony doctrine in revelation that is useful for you to understand that will not fly into shivers under the exercise of prayer and faith. You may force your way through anything with the leverage of prayer. Thoughts and reasoning are like the steel wedges that give a hold upon truth; but prayer is the lever that pries open the iron chest of sacred mystery, that we may get the treasure hidden inside.

The necessity of the work of the Holy Spirit in the heart may be clearly seen from this fact, that all which has been done by God the Father and by God the Son will be ineffectual to us unless the Spirit reveals these things to our souls.

Not only when you were born into the world did Christ love you, but His delights were with the sons of men before there were any sons of men!

We know that for those who love God all things work together for good.” The Christian does not merely hold this as a theory, but he knows it as a matter of fact. So far everything has worked for good; the poisonous drugs mixed in proper proportions have effected the cure; the sharp cuts of the scalpel have cleaned out the disease and facilitated the healing. Every event as yet has worked out the most divinely blessed results; and so, believing that God rules all, that He governs wisely, that He brings good out of evil, the believer’s heart is assured, and he is learning to meet each trial calmly when it comes

Can you bow before the Crucified in humble adoration and not wish to see your Monarch Master of the world? You only pretend to love your Prince if you do not desire to see Him the universal ruler. Your piety is worthless unless it leads you to wish that the same mercy that has been shown to you may bless the whole world. Lord, it is harvesttime; put in Your sickle and reap.

The enmity of the world is bitter in its assault against the people of Christ. Men will forgive a thousand faults in others, but they will magnify the most trivial offense in the followers of Jesus. Instead of vainly regretting this, let us make it work for us, and since so many are watching for our collapse, let it be a special motive for walking very carefully before God.

How great His patience to knock and knock again, and to add His voice to His knockings, beseeching me to open to Him! How could I have refused Him! My heart is base; I blush and without excuse! But the greatest kindness of all is this, that He becomes His own porter and unlocks the door Himself. Blessed is the hand that condescends to lift the latch and turn the key. Now I see that nothing but my Lord’s own power can save such a naughty mass of wickedness as I am; ordinances fail, and even the Gospel has no effect upon me, until His hand is stretched out.

I am wretched to treat my Lord, my All in All, my exceeding great joy, as though He were a stranger. Jesus, You freely forgive, but this is not enough; prevent my unfaithfulness in the future. Kiss away these tears, and then purge my heart and bind it with sevenfold cords to Yourself, so that I may never wander from You again.

The law was a dispensation of terror that drove men before it as with a scourge; the Gospel draws with cords of love. Jesus is the Good Shepherd going before His sheep, bidding them follow Him, and leading them forward with the sweet word, “Come.” The law repels; the Gospel attracts. The law shows the distance that exists between God and man; the Gospel bridges that awful chasm and brings the sinner across it.

How we must adore the grace of God as we realize from the context that all of our folly and ignorance was foreknown by God, and notwithstanding that foreknowledge, He has still been pleased to deal with us in mercy! Ponder and admire the marvelous sovereign grace that could have chosen us in the sight of all this! Wonder at the price that was paid for us when Christ knew what we would be!

Many a time before His incarnation, He descended to this lower earth in the similitude of a man—on the plains of Mamre (Gen. 18), by the brook of Jabbok (Gen. 32:24-30), beneath the walls of Jericho (Josh. 5:13), and in the fiery furnace of Babylon (Dan. 3:19, 25). The Son of Man visited His people. Because His soul delighted in them, He could not stay away from them, for His heart longed for them. They were never absent from His heart, for He had written their names upon His hands and had graven them upon His side.

She was a beautiful girl, possessed of an elegant bearing and a sweet expression. A classic English rose. Indeed, her perfect oval face might well have been set on a cameo. But the spark of sharp intelligence in the soft velvet of her gaze and the stubborn set to her dimpled chin spoke of a female who was much more than the sum of her face and her figure.

She is not merely beautiful, but “altogether beautiful.” He views her in Himself, washed in His sin-atoning blood and clothed in His meritorious righteousness, and He considers her to be full of attraction and beauty. No wonder that this is the case, since it is simply His own perfect excellency that He admires; for the holiness, glory, and perfection of His Church are His own glorious garments worn by His well-beloved spouse.