English Subject Quotes

The fact that I am writing to you in English already falsifies what I wanted to tell you. My subject: how to explain to you that I don't belong to English though I belong nowhere else

I did best when I had least truth for my subjects.

In a traditional German toilet, the hole into which shit disappears after we flush is right at the front, so that shit is first laid out for us to sniff and inspect for traces of illness. In the typical French toilet, on the contrary, the hole is at the back, i.e. shit is supposed to disappear as quickly as possible. Finally, the American (Anglo-Saxon) toilet presents a synthesis, a mediation between these opposites: the toilet basin is full of water, so that the shit floats in it, visible, but not to be inspected. [...] It is clear that none of these versions can be accounted for in purely utilitarian terms: each involves a certain ideological perception of how the subject should relate to excrement. Hegel was among the first to see in the geographical triad of Germany, France and England an expression of three different existential attitudes: reflective thoroughness (German), revolutionary hastiness (French), utilitarian pragmatism (English). In political terms, this triad can be read as German conservatism, French revolutionary radicalism and English liberalism. [...] The point about toilets is that they enable us not only to discern this triad in the most intimate domain, but also to identify its underlying mechanism in the three different attitudes towards excremental excess: an ambiguous contemplative fascination; a wish to get rid of it as fast as possible; a pragmatic decision to treat it as ordinary and dispose of it in an appropriate way. It is easy for an academic at a round table to claim that we live in a post-ideological universe, but the moment he visits the lavatory after the heated discussion, he is again knee-deep in ideology.

This book is not about heroes. English poetry is not yet fit to speak of them. Nor is it about deeds, or lands, nor anything about glory, honour, might, majesty, dominion, or power, except War. Above all I am not concerned with Poetry. My subject is War, and the pity of War. The Poetry is in the pity.

I was terrible in English. I couldn't stand the subject. It seemed to me ridiculous to worry about whether you spelled something wrong or not, because English spelling is just a human convention--it has nothing to do with anything real, anything from nature. Any word can be spelled just as well a different way.

I have these guilts about never having read Chaucer but I was talked out of learning Early Anglo-Saxon / Middle English by a friend who had to take it for her Ph.D. They told her to write an essay in Early Anglo-Saxon on any-subject-of-her-own-choosing. “Which is all very well,” she said bitterly, “but the only essay subject you can find enough Early Anglo-Saxon words for is ‘How to Slaughter a Thousand Men in a Mead Hall’.

The fact that I am writing to you in English already falsifies what I wanted to tell you. My subject: how to explain to you that I don't belong to English though I belong nowhere else, if not here in English.

lectures broke into one's day and were clearly a terrible waste of time, necessary no doubt if you were reading law or medicine or some other vocational subject, but in the case of English, the natural thing to do was talk a lot, listen to music, drink coffee and wine, read books, and go to plays, perhaps be in plays…

In my heart, I knew that Whorf was right. I knew I thought differently in Turkish and English - not because thought and language were the same, but because different languages forced you to think about different things. Turkish, for example, had a suffix, -mis, that you put on verbs to report anything you didn't witness personally. You were always stating your degree of subjectivity. You were always thinking about it, every time you opened your mouth. The suffix -mis had not exact English equivalent. It could be translated as "it seems" or "I heard" or "apparently." I associated it with Dilek, my cousin on my father's side - tiny, skinny, dark-complexioned Dilek, who was my age but so much smaller. "You complained-mis to your mother," Dilek would tell me in her quiet, precise voice. "The dog scared-mis you." "You told-mis your parents that if Aunt Hulya came to America, she could live in your garage." When you heard -mis, you knew that you had been invoked in your absence - not just you but your hypocrisy, cowardice, and lack of generosity. Every time I heard -mis, I felt caught out. I was scared of the dogs. I did complain to my mother, often. The -mis tense was one of the things I complained to my mother about. My mother thought it was funny.

He sat down and collected his thoughts. They were quite easy to collect, because there weren't very many of them, and they all concerned the same subject--what a burden his life was.

But it so happens that everything on this planet is, ultimately, irrational; there is not, and cannot be, any reason for the causal connexion of things, if only because our use of the word "reason" already implies the idea of causal connexion. But, even if we avoid this fundamental difficulty, Hume said that causal connexion was not merely unprovable, but unthinkable; and, in shallower waters still, one cannot assign a true reason why water should flow down hill, or sugar taste sweet in the mouth. Attempts to explain these simple matters always progress into a learned lucidity, and on further analysis retire to a remote stronghold where every thing is irrational and unthinkable. If you cut off a man's head, he dies. Why? Because it kills him. That is really the whole answer. Learned excursions into anatomy and physiology only beg the question; it does not explain why the heart is necessary to life to say that it is a vital organ. Yet that is exactly what is done, the trick that is played on every inquiring mind. Why cannot I see in the dark? Because light is necessary to sight. No confusion of that issue by talk of rods and cones, and optical centres, and foci, and lenses, and vibrations is very different to Edwin Arthwait's treatment of the long-suffering English language. Knowledge is really confined to experience. The laws of Nature are, as Kant said, the laws of our minds, and, as Huxley said, the generalization of observed facts. It is, therefore, no argument against ceremonial magic to say that it is "absurd" to try to raise a thunderstorm by beating a drum; it is not even fair to say that you have tried the experiment, found it would not work, and so perceived it to be "impossible." You might as well claim that, as you had taken paint and canvas, and not produced a Rembrandt, it was evident that the pictures attributed to his painting were really produced in quite a different way. You do not see why the skull of a parricide should help you to raise a dead man, as you do not see why the mercury in a thermometer should rise and fall, though you elaborately pretend that you do; and you could not raise a dead man by the aid of the skull of a parricide, just as you could not play the violin like Kreisler; though in the latter case you might modestly add that you thought you could learn. This is not the special pleading of a professed magician; it boils down to the advice not to judge subjects of which you are perfectly ignorant, and is to be found, stated in clearer and lovelier language, in the Essays of Thomas Henry Huxley.

Not long ago, I advertised for perverse rules of grammar, along the lines of "Remember to never split an infinitive" and "The passive voice should never be used." The notion of making a mistake while laying down rules ("Thimk," "We Never Make Misteaks") is highly unoriginal, and it turns out that English teachers have been circulating lists of fumblerules for years. As owner of the world's largest collection, and with thanks to scores of readers, let me pass along a bunch of these never-say-neverisms: * Avoid run-on sentences they are hard to read. * Don't use no double negatives. * Use the semicolon properly, always use it where it is appropriate; and never where it isn't. * Reserve the apostrophe for it's proper use and omit it when its not needed. * Do not put statements in the negative form. * Verbs has to agree with their subjects. * No sentence fragments. * Proofread carefully to see if you any words out. * Avoid commas, that are not necessary. * If you reread your work, you will find on rereading that a great deal of repetition can be avoided by rereading and editing. * A writer must not shift your point of view. * Eschew dialect, irregardless. * And don't start a sentence with a conjunction. * Don't overuse exclamation marks!!! * Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to their antecedents. * Writers should always hyphenate between syllables and avoid un-necessary hyph-ens. * Write all adverbial forms correct. * Don't use contractions in formal writing. * Writing carefully, dangling participles must be avoided. * It is incumbent on us to avoid archaisms. * If any word is improper at the end of a sentence, a linking verb is. * Steer clear of incorrect forms of verbs that have snuck in the language. * Take the bull by the hand and avoid mixed metaphors. * Avoid trendy locutions that sound flaky. * Never, ever use repetitive redundancies. * Everyone should be careful to use a singular pronoun with singular nouns in their writing. * If I've told you once, I've told you a thousand times, resist hyperbole. * Also, avoid awkward or affected alliteration. * Don't string too many prepositional phrases together unless you are walking through the valley of the shadow of death. * Always pick on the correct idiom. * "Avoid overuse of 'quotation "marks."'" * The adverb always follows the verb. * Last but not least, avoid cliches like the plague; seek viable alternatives." (New York Times, November 4, 1979; later also published in book form)

Stupid English." "English isn't stupid," I say. "Well, my English teacher is." He makes a face. "Mr. Franklin assigned an essay about our favorite subject, and I wanted to write about lunch, but he won't let me." "Why not?" "He says lunch isn't a subject." I glance at him. "It isn't." "Well," Jacob says, "it's not a predicate, either. Shouldn't he know that?

Protestantism's evolution away from hierarchy and authority has enormous consequences for America and the world. On the one hand, the democratization of religion runs parallel to political democratization. The king of England, questioning the pope, inspires English subjects to question the king and his Anglican bishops. Such dissent is backed up by a Bible full of handy Scripture arguing for arguing with one's kIng. This is the root of self-government in the English-speaking world.

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}

One of the most painful parts of teaching mathematics is seeing students damaged by the cult of the genius. The genius cult tells students it’s not worth doing mathematics unless you’re the best at mathematics, because those special few are the only ones whose contributions matter. We don’t treat any other subject that way! I’ve never heard a student say, “I like Hamlet, but I don’t really belong in AP English—that kid who sits in the front row knows all the plays, and he started reading Shakespeare when he was nine!” Athletes don’t quit their sport just because one of their teammates outshines them. And yet I see promising young mathematicians quit every year, even though they love mathematics, because someone in their range of vision was “ahead” of them.

Suddenly, she employed those very English weapons: devious good manners and a rapid change of subject.

I can think of God as my savior and even my friend, but I must never forget that He is God, and after He saves me, I must put myself in subjection to Him and His will.

So what were your favorite subjects in school?" "School?" He leaned back in his chair as though he needed the extra space to think about it. "Probably math. It always made sense. Unlike English, economics, and girls." "And exactly how do you plan on taking over the free world if you don't understand economics?" "I'll hire advisers. I'll hire you, in fact." "Okay. Let me know when your army of junior high zombies is ready.

So she did the English thing. She changed the subject.

the English Crown and People, from a congress of British subjects in America: which, strange to relate, have proved more important to the human

The fact that I am writing to you in English already falsifies what I wanted to tell you. My subject: how to explain to you that I don't belong to English though I belong nowhere else.

The fact that I am writing to you in English already falsifies what I wanted to tell you. My subject: how to explain to you that I don’t belong to English though I belong nowhere else Gustavo Pérez Firmat

She tries to maintain a nondescript exterior; she learns the sideways glance instead of looking at people directly. She speaks in practised, precise sentences so that she is not misunderstood. She chooses her words carefully, and if someone addresses her in Punjabi, she answers in Urdu, because an exchange in her mother tongue might be considered a promise of intimacy. She uses English for medical terms only, because she feels if she uses a word of English in her conversation she might be considered a bit forward. When she walks she walks with slightly hurried steps, as if she has an important but innocent appointment to keep. She avoids eye contact, she looks slightly over people’s heads as if looking out for somebody who might come into view at any moment. She doesn’t want anyone to think that she is alone and nobody is coming for her. She sidesteps even when she sees a boy half her age walking towards her, she walks around little puddles when she can easily leap over them; she thinks any act that involves stretching her legs might send the wrong signal. After all, this is not the kind of thing where you can leave your actions to subjective interpretations. She never eats in public. Putting something in your mouth is surely an invitation for someone to shove something horrible down your throat. If you show your hunger, you are obviously asking for something.

I had not particularly liked the way in which he wrote about literature in Beginnings, and I was always on my guard if not outright hostile when any tincture of 'deconstruction' or 'postmodernism' was applied to my beloved canon of English writing, but when Edward talked about English literature and quoted from it, he passed the test that I always privately apply: Do you truly love this subject and could you bear to live for one moment if it was obliterated?

On turning to the Work in Progress we find that the mirror is not so convex. Here is direct expression--pages and pages of it. And if you don’t understand it, Ladies and Gentlemen, it is because you are too decadent to receive it. You are not satisfied unless form is so strictly divorced from content that you can comprehend the one almost without bothering to read the other. This rapid skimming and absorption of the scant cream of sense is made possible by what I may call a continuous process of copious intellectual salivation. The form that is an arbitrary and independent phenomenon can fulfil no higher function than that of stimulus for a tertiary or quartary conditioned reflex of dribbling comprehension. . . Mr. Joyce has a word to say to you on the subject: “Yet to concentrate solely on the literal sense or even the psychological content of any document to the sore neglect of the enveloping facts themselves circumstantiating it is just as harmful; etc.” And another: “Who in his hearts doubts either that the facts of feminine clothiering are there all the time or that the feminine fiction, stranger than facts, is there also at the same time, only a little to the rere? Or that one may be separated from the orther? Or that both may be contemplated simultaneously? Or that each may be taken up in turn and considered apart from the other?” Here form is content, content is form. You complain that this stuff is not written in English. It is not written at all. It is not to be read--or rather it is not only to be read. It is to be looked at and listened to. His writing is not about something; it is that something itself.

Inferiority is not banal or incidental even when it happens to women. It is not a petty affliction like bad skin or circles under the eyes. It is not a superficial flaw in an otherwise perfect picture. It is not a minor irritation, nor is it a trivial inconvenience, an occasional aggravation, or a regrettable but (frankly) harmless lapse in manners. It is not a “point of view” that some people with soft skins find “ offensive. ” It is the deep and destructive devaluing of a person in life, a shredding of dignity and self-respect, an imposed exile from human worth and human recognition, the forced alienation of a person from even the possibility of wholeness or internal integrity. Inferiority puts rightful self-love beyond reach, a dream fragmented by insult into a perpetually recurring nightmare; inferiority creates a person broken and humiliated inside. The fragments— scattered pieces and sharp slivers of someone who can never be made whole—are then taken to be the standard of what is normal in her kind: women are like that. The insult that hurt her—inferiority as an assault, ongoing since birth—is seen as a consequence, not a cause, of her so-called nature, an inferior nature. In English, a graceful language, she is even called a piece. It is likely to be her personal experience that she is insufficiently loved. Her subjectivity itself is second-class, her experiences and perceptions inferior in the world as she is inferior in the world. Her experience is recast into a psychologically pejorative judgment: she is never loved enough because she is needy, neurotic, the insufficiency of love she feels being in and of itself evidence of a deep-seated and natural dependency. Her personal experiences or perceptions are never credited as having a hard core of reality to them. She is, however, never loved enough. In truth; in point of fact; objectively: she is never loved enough. As Konrad Lorenz wrote: “ I doubt if it is possible to feel real affection for anybody who is in every respect one’s inferior. ” 1 There are so many dirty names for her that one rarely learns them all, even in one’s native language.

Men may congratulate themselves for writing truly and passionately about the movements of nations; they may consider war and the search for God to be great literature's only subjects; but if men's standing in the world could be toppled by an ill-advised choice of hat, English literature would be dramatically changed.

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.

I was terrible in English. I couldn’t stand the subject. It seemed to me ridiculous to worry about whether you spelled something wrong or not, because English spelling is just a human convention—it has nothing to do with anything real, anything from nature.

That, too, is part of this adventure — there are both casualties and survivors as this hungry creature, English, demanded more and more subjects.

earthly order of events had lately come to the English Crown and People, from a congress of British subjects in America: which, strange to relate, have proved more important

Quentin Crisp, the English fop, wit, and subject of Sting’s song “Englishman in New York,” said, “Charisma is the ability to influence without logic.

lately come to the English Crown and People, from a congress of British subjects in America: which, strange to relate, have proved more important to the human race than any communications

She wanted to find out about the gods of this country, but she couldn’t find any books on the subject in Spanish, and she doesn’t read English, so she asked a lot of her customers, but apparently none of the Japanese knew anything, which made her wonder if people here never came up against the kind of suffering where you can’t do anything but turn to your god for help. . .

As graduation loomed, I had a nagging sense that there was still far too much unresolved for me, that I wasn’t done studying. I applied for a master’s in English literature at Stanford and was accepted into the program. I had come to see language as an almost supernatural force, existing between people, bringing our brains, shielded in centimeter-thick skulls, into communion. A word meant something only between people, and life’s meaning, its virtue, had something to do with the depth of the relationships we form. It was the relational aspect of humans—i.e., “human relationality”—that undergirded meaning. Yet somehow, this process existed in brains and bodies, subject to their own physiologic imperatives, prone to breaking and failing. There must be a way, I thought, that the language of life as experienced—of passion, of hunger, of love—bore some relationship, however convoluted, to the language of neurons, digestive tracts, and heartbeats.

had lately come to the English Crown and People, from a congress of British subjects in America: which, strange to relate, have proved more important to the human race than any communications

If I am to understand that you are enquiring whether I am of Jewish origin, I can only reply that I regret that I appear to have no ancestors of that gifted people. My great-great-grandfather came to England in the eighteenth century from Germany: the main part of my descent is therefore purely English, and I am an English subject—which should be sufficient. I have been accustomed, nonetheless, to regard my German name with pride, and continued to do so throughout the period of the late regrettable war, in which I served in the English army. I cannot, however, forbear to comment that if impertinent and irrelevant inquiries of this sort are to become the rule in matters of literature, then the time is not far distant when a German name will no longer be a source of pride.

I want to say to the literature teacher who remains wilfully, even boastfully ignorant of a major element of contemporary fiction: you are incompetent to teach or judge your subject. Readers and students who do know the field, meanwhile, have every right to challenge your ignorant prejudice. Rise, undergraduates of the English departments! You have nothing to lose but your A on the midterm!

Educated children walked in single file on the right side of the hallway, raised their hands to use the lavatory, and carried the lavatory pass when en route. Educated children never offered excuses—certainly not childhood itself. The world had no time for the childhoods of black boys and girls. How could the schools? Algebra, Biology, and English were not subjects so much as opportunities to better discipline the body,

All that is needed to bring us to union with God is love. He had pondered this subject much, and concluded that the shortest way to God was to go straight to Him by a continual exercise of love and doing everything for His sake.

year last past (supernaturally deficient in originality) rapped out theirs. Mere messages in the earthly order of events had lately come to the English Crown and People, from a congress of British subjects in America: which, strange

Neely grumbled. 'They [Indians] are a murdering lot of savages, and no mention of them in the Bible.' 'What has that to do with it?' John Sampson asked. 'If there's no mention of them,' Neely said, 'they are animals, not men.' 'I don't recall any mention of the English, either,' I said mildly. He gave me a mean look, then changed the subject.

The fact that I am writing to you in English already falsifies what I wanted to tell you. My subject: how to explain to you that I don’t belong to English though I belong nowhere else, if not here in English. —GUSTAVO PÉREZ FIRMAT, “BILINGUAL BLUES

of events had lately come to the English Crown and People, from a congress of British subjects in America: which, strange to relate, have proved more important to the human race than any communications yet received through any of the chickens of the

earthly order of events had lately come to the English Crown and People, from a congress of British subjects in America: which, strange to relate, have proved more important to the human race than any communications yet received through any of the chickens of

messages, as the spirits of this very year last past (supernaturally deficient in originality) rapped out theirs. Mere messages in the earthly order of events had lately come to the English Crown and People, from a congress of British subjects in America: which,

this very year last past (supernaturally deficient in originality) rapped out theirs. Mere messages in the earthly order of events had lately come to the English Crown and People, from a congress of British subjects in America: which, strange to relate, have proved more

order of events had lately come to the English Crown and People, from a congress of British subjects in America: which, strange to relate, have proved more important to the human race than any communications yet received through any of the chickens of the Cock-lane brood.

Our textbooks were ridiculous propaganda. The first English sentence we learned was "Long live Chairman Mao!" But no one dared to explain the sentence grammatically. In Chinese the term for the optative mood, expressing a wish or desire, means 'something unreal." In 1966 a lecturer at Sichuan University had been beaten up for 'having the audacity to suggest that "Long live Chairman Mao!" was unreal!" One chapter was about a model youth hero who had drowned after jumping into a flood to save an electricity pole because the pole would be used to carry the word of Mao. With great difficulty, I managed to borrow some English language textbooks published before the Cultural Revolution from lecturers in my department and from Jin-ming, who sent me books from his university by post. These contained extracts from writers like Jane Austen, Charles Dickens, and Oscar Wilde, and stories from European and American history. They were a joy to read, but much of my energy went toward finding them and then trying to keep them. Whenever someone approached, I would quickly cover the books with a newspaper. This was only partly because of their 'bourgeois' content. It was also important not to appear to be studying too conscientiously, and not to arouse my fellow students' jealousy by reading something far beyond them. Although we were studying English, and were paid par fly for our propaganda value by the government to do this, we must not be seen to be too devoted to our subject: that was considered being 'white and expert." In the mad logic of the day, being good at one's profession ('expert') was automatically equated with being politically unreliable ('white').

[L]iberals insist that children should be given the right to remain part of their particular community, but on condition that they are given a choice. But for, say, Amish children to really have a free choice of which way of life to choose, either their parents’ life or that of the “English,” they would have to be properly informed on all the options, educated in them, and the only way to do what would be to extract them from their embeddedness in the Amish community, in other words, to effectively render them “English.” This also clearly demonstrates the limitations of the standard liberal attitude towards Muslim women wearing a veil: it is deemed acceptable if it is their free choice and not an option imposed on them by their husbands or family. However, the moment a woman wears a veil as the result of her free individual choice, the meaning of her act changes completely: it is no longer a sign of her direct substantial belongingness to the Muslim community, but an expression of her idiosyncratic individuality, of her spiritual quest and her protest against the vulgarity of the commodification of sexuality, or else a political gesture of protest against the West. A choice is always a meta-choice, a choice of the modality of choice itself: it is one thing to wear a veil because of one’s immediate immersion in a tradition; it is quite another to refuse to wear a veil; and yet another to wear one not out of a sense of belonging, but as an ethico-political choice. This is why, in our secular societies based on “choice,” people who maintain a substantial religious belonging are in a subordinate position: even if they are allowed to practice their beliefs, these beliefs are “tolerated” as their idiosyncratic personal choice or opinion; they moment they present them publicly as what they really are for them, they are accused of “fundamentalism.” What this means is that the “subject of free choice” (in the Western “tolerant” multicultural sense) can only emerge as the result of an extremely violent process of being torn away from one’s particular lifeworld, of being cut off from one’s roots.

Perhaps for our last words on the subject of usage we should turn to the last words of the venerable French grammarian Dominique Bonhours, who proved on his deathbed that a grammarian’s work is never done when he turned to those gathered loyally around him and whispered: “I am about to—or I am going to—die; either expression is used.

In the preface to my Plays for Puritans I explained the predicament of our contemporary English drama, forced to deal almost exclusively with cases of sexual attraction, and yet forbidden to exhibit the incidents of that attraction or even to discuss its nature. Your suggestion that I should write a Don Juan play was virtually a challenge to me to treat this subject myself dramatically. The challenge was difficult enough to be worth accepting, because, when you come to think of it, though we have plenty

Grace Slaughter - the surname of her fifth husband, a manufacturer of pharmaceutical toners and "prophylactic" products, recently deceased due to a ruptured peritoneum - was sharply chauvinistic and would allow no more than two exceptions to her all-American views, exceptions with which her first spouse, Astolphe de Guéménolé-Longtgermain, no doubt had something to do: cooking had to be done by French nationals of male gender, laundry and ironing by British subjects of female gender (and absolutely not by Chinese). That allowed Henri Fresnel to be hired without having to hide his original citizenship, which is what had to be done by the director (Hungarian), the set designer (Russian), the choreographer (Lithuanian), the dancers (Italian, Greek, Egyptian), the scriptwriter (English), the librettist (Austrian), and the composer, a Finn of Bulgarian descent with a large dash of Romanian.

Chalmers, like many of the English writers whom he then most admired, felt a strong natural sympathy with everything French. At Rouen he imagined himself as having escaped into a world in which it was possible to speak openly and unaffectedly of all those subjects which in England must be introduced by an apology or guarded with a sneer - poetry, metaphysics, romantic love.

It is allowed on all hands, that the primitive way of breaking eggs before we eat them, was upon the larger end: but his present Majesty's grand-father, while he was a boy, going to eat an egg, and breaking it according to the ancient practice, happened to cut one of his fingers. Whereupon the emperor his father, published an edict, commanding all his subjects to, upon great penalties, to break the smaller end of their eggs. The people so highly resented this law, that our histories tell us, there have been six rebellions raised on that account; wherein one emperor lost his life, and another his crown.

Math. It’s your favorite subject. Which surprises you. Last year your teacher tried to convince you that you had a real “aptitude” for math, but all you got in the end was a B minus. The truth is you weren’t even trying. But then you got low Cs and Ds in all your other classes and you weren’t trying there, either, so maybe you are good at math after all. You like it because either you’re right or you’re wrong. Not like social studies and definitely not like English, where you always have to explain your answers and support your opinions. With math it’s right or it’s wrong and you’re done with it. But even that’s changing, my teacher said now you have to explain how you solved the problem and support your answer, saying that having the right answer isn’t as important as explaining how you got it and bam, just like that, you hate math.

Few had much room to cast stones, but hypocrisy has never failed the English middle class in any latitude, and they flung them in plenty with delighted, shocked abandon – rocks, boulders, limited in size only by fear for their husband’s advancement. Conciliating discretion had never been among Mrs Villiers’s qualities, and if subjects for malignant gossip had been wanting she would have provided them by the elephant-load.

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.

All Religions have this in common, that they are an outrage to common sense for they are pieced together out of a variety of elements, some of which seem so unworthy, sordid and at odds with man’s reason, that any strong and vigorous intelligence laughs at them... The human intellect is only capable of tackling mediocre subjects: it disdains petty subjects, and is startled by large ones. There is no reason to be surprised if it finds any religion hard to accept at first, for all are deficient in the mediocre and the commonplace, nor that it should require skill to induce belief. For the strong intellect laughs at religion, while the weak and superstitious mind marvels at it but is easily scandalized by it.

Jim Thunder, at seventy-five the youngest of the speakers, is a round brown man of serious demeanor who spoke only in Potawatomi. He began solemnly, but as he warmed to his subject his voice lifted like a breeze in the birch trees and his hands began to tell the story. He became more and more animated, rising to his feet, holding us rapt and silent although almost no one understood a single word. He paused as if reaching the climax of his story and looked out at the audience with a twinkle of expectation. One of the grandmothers behind him covered her mouth in a giggle and his stern face suddenly broke into a smile as big and sweet as a cracked watermelon. He bent over laughing and the grandmas dabbed away tears of laughter, holding their sides, while the rest of us looked on in wonderment. When the laughter subsided, he spoke at last in English: "What will happen to a joke if no one will hear it any more? How lonely those words will be, when their is power gone. Where will they go? Off to join the stories that can never be told again.

Cameron found that when people use female as a noun, as opposed to woman, it’s often in explicitly negative contexts. For example: My poor Clemence was as helpless a female as you’d find in a long day’s march. “Stupid, crazy female” was all he said as he set about bandaging it. A call yesterday involved giving the chatty female at the other end one’s address. These examples all involve a speaker passing derogatory judgment on the subject. And though their statements would still be insulting if you swapped in the word woman, they would be, as Cameron says, “less unequivocally contemptuous.” The corpus data also showed that the noun form of female is almost never used in a positive context. You wouldn’t hear someone say, “My best friend is the kindest, most generous female I have ever met.

Forever, Tom thought. Maybe he’d never go back to the States. It was not so much Europe itself as the evenings he had spent alone, here and in Rome, that made him feel that way. Evenings by himself simply looking at maps, or lying around on sofas thumbing through guidebooks. Evenings looking at his clothes - his clothes and Dickie’s - and feeling Dickie’s rings between his palms, and running his fingers over the antelope suitcase he had bought at Gucci’s. He had polished the suitcase with a special English leather dressing, not that it needed polishing because he took such good care of it, but for its protection. He loved possessions, not masses of them, but a select few that he did not part with. They gave a man self-respect. Not ostentation but quality, and the love that cherished the quality. Possessions reminded him that he existed, and made him enjoy his existence. It was as simple as that. And wasn’t that worth something? He existed. Not many people in the world knew how to, even if they had the money. It really didn’t take money, masses of money, it took a certain security. He had been on the road to it, even with Marc Priminger. He had appreciated Marc’s possessions, and they were what had attracted him to the house, but they were not his own, and it had been impossible to make a beginning at acquiring anything of his own on forty dollars a week. It would have taken him the best years of his life, even if he had economised stringently, to buy the things he wanted. Dickie’s money had given him only an added momentum on the road he had been travelling. The money gave him the leisure to see Greece, to collect Etruscan pottery if he wanted (he had recently read an interesting book on that subject by an American living in Rome), to join art societies if he cared to and to donate to their work. It gave him the leisure, for instance, to read his Malraux tonight as late as he pleased, because he did not have to go to a job in the morning. He had just bought a two-volume edition of Malraux’s Psychologic de I’art which he was now reading, with great pleasure, in French with the aid of a dictionary.

It is observable, that, as the old ROMANS, by applying themselves solely to war, were almost the only uncivilized people that ever possessed military discipline; so the modern ITALIANS are the only civilized people, among EUROPEANS, that ever wanted courage and a martial spirit. Those who would ascribe this effeminacy of the ITALIANS to their luxury, or politeness, or application to the arts, need but consider the FRENCH and ENGLISH, whose bravery is as uncontestable, as their love for the arts, and their assiduity in commerce. The ITALIAN historians give us a more satisfactory reason for this degeneracy of their countrymen. They shew us how the sword was dropped at once by all the ITALIAN sovereigns; while the VENETIAN aristocracy was jealous of its subjects, the FLORENTINE democracy applied itself entirely to commerce; ROME was governed by priests, and NAPLES by women. War then became the business of soldiers of fortune, who spared one another, and to the astonishment of the world, could engage a whole day in what they called a battle, and return at night to their camp, without the least bloodshed. What

There are two kinds of directors; those who have the public in mind when they conceive and make their films and those who don't consider the public at all. For the former, cinema is an art of spectacle; for the latter, it is an individual adventure. There is nothing intrinsically better about one or the other; it's simply a matter of different approaches. For Hitchcock as for Renoir, as for that matter almost all American directors, a film has not succeeded unless it is a success, that is, unless it touches the public that one has had in mind right from the moment of choosing the subject matter to the end of production. While Bresson, Tati, Rossellini, Ray make films their own way and then invite the public to join the "game," Renoir, Clouzot, Hitchcock and Hawks make movies for the public, and ask themselves all the questions they think will interest their audience. Alfred Hitchcock, who is a remarkably intelligent man, formed the habit early--right from the start of his career in England--of predicting each aspect of his films. All his life he has worked to make his own tastes coincide with the public', emphasizing humor in his English period and suspense in his American period. This dosage of humor and suspense has made Hitchcock one of the most commercial directors in the world (his films regularly bring in four times what they cost). It is the strict demands he makes on himself and on his art that have made him a great director.

This actually did happen to a real person, and the real person is me. I had gone to catch a train. This was April 1976, in Cambridge, U.K. I was a bit early for the train. I’d gotten the time of the train wrong. I went to get myself a newspaper to do the crossword, and a cup of coffee and a packet of cookies. I went and sat at a table. I want you to picture the scene. It’s very important that you get this very clear in your mind. Here’s the table, newspaper, cup of coffee, packet of cookies. There’s a guy sitting opposite me, perfectly ordinary-looking guy wearing a business suit, carrying a briefcase. It didn’t look like he was going to do anything weird. What he did was this: he suddenly leaned across, picked up the packet of cookies, tore it open, took one out, and ate it. Now this, I have to say, is the sort of thing the British are very bad at dealing with. There’s nothing in our background, upbringing, or education that teaches you how to deal with someone who in broad daylight has just stolen your cookies. You know what would happen if this had been South Central Los Angeles. There would have very quickly been gunfire, helicopters coming in, CNN, you know… But in the end, I did what any red-blooded Englishman would do: I ignored it. And I stared at the newspaper, took a sip of coffee, tried to do a clue in the newspaper, couldn’t do anything, and thought, What am I going to do? In the end I thought Nothing for it, I’ll just have to go for it, and I tried very hard not to notice the fact that the packet was already mysteriously opened. I took out a cookie for myself. I thought, That settled him. But it hadn’t because a moment or two later he did it again. He took another cookie. Having not mentioned it the first time, it was somehow even harder to raise the subject the second time around. “Excuse me, I couldn’t help but notice…” I mean, it doesn’t really work. We went through the whole packet like this. When I say the whole packet, I mean there were only about eight cookies, but it felt like a lifetime. He took one, I took one, he took one, I took one. Finally, when we got to the end, he stood up and walked away. Well, we exchanged meaningful looks, then he walked away, and I breathed a sigh of relief and st back. A moment or two later the train was coming in, so I tossed back the rest of my coffee, stood up, picked up the newspaper, and underneath the newspaper were my cookies. The thing I like particularly about this story is the sensation that somewhere in England there has been wandering around for the last quarter-century a perfectly ordinary guy who’s had the same exact story, only he doesn’t have the punch line.

I take literally the statement in the Gospel of John that God loves the world. I believe that the world was created and approved by love, that it subsists, coheres, and endures by love, and that, insofar as it is redeemable, it can be redeemed only by love. I believe that divine love, incarnate and indwelling in the world. summons the world always toward wholeness, which ultimately is reconciliation and atonement with God. I believe that health is wholeness. For many years I have returned again and again to the work of the English agriculturist SirAlbert Hovvard, who said, in The Soil and Health, that "the whole problem of health in soil, plant, animal, and man [is] one great subject." I am moreover a Luddite, in what I take to be the true and appropriate sense. I am not "against technology" so much as I am for community. When the choice is between the health of a community and technological innovation, I choose the health of the community I would unhesitatingly destroy a machine before I would allow the machine to destroy my community. I believe that the community-in the fullest sense: a place and all its creatures-is the smallest unit of health and that to speak of the health of an isolated individual is a contradiction in terms.

The Germans have another kind of parenthesis, which they make by splitting a verb in two and putting half of it at the beginning of an exciting chapter and the other half at the end of it. Can any one conceive of anything more confusing than that? These things are called “separable verbs.” The German grammar is blistered all over with separable verbs; and the wider the two portions of one of them are spread apart, the better the author of the crime is pleased with his performance. A favorite one is reiste ab—which means departed. Here is an example which I culled from a novel and reduced to English: “The trunks being now ready, he de- after kissing his mother and sisters, and once more pressing to his bosom his adored Gretchen, who, dressed in simple white muslin, with a single tuberose in the ample folds of her rich brown hair, had tottered feebly down the stairs, still pale from the terror and excitement of the past evening, but longing to lay her poor aching head yet once again upon the breast of him whom she loved more dearly than life itself, parted.” However, it is not well to dwell too much on the separable verbs. One is sure to lose his temper early; and if he sticks to the subject, and will not be warned, it will at last either soften his brain or petrify it. Personal pronouns and adjectives are a fruitful nuisance in this language, and should have been left out. For instance, the same sound, sie, means you, and it means she, and it means her, and it means it, and it means they, and it means them. Think of the ragged poverty of a language which has to make one word do the work of six—and a poor little weak thing of only three letters at that. But mainly, think of the exasperation of never knowing which of these meanings the speaker is trying to convey. This explains why, whenever a person says sie to me, I generally try to kill him, if a stranger.

I was perplexed by the failure of teachers at school to address what seemed the most urgent matter of all: the bewildering, stomach-churning insecurity of being alive. The standard subjects of history, geography, mathematics, and English seemed perversely designed to ignore the questions that really mattered. As soon as I had some inkling of what 'philosophy' meant, I was puzzled as to why we were not taught it. And my skepticism about religion only grew as I failed to see what the vicars and priests I encountered gained from their faith. They struck me either as insincere, pious, and aloof or just bumblingly good-natured. (p. 10)

But what sort of experiment? An English statistician named Bradford Hill (a former victim of TB himself) proposed an extraordinary solution. Hill began by recognizing that doctors, of all people, could not be entrusted to perform such an experiment without inherent biases. Every biological experiment requires a “control” arm—untreated subjects against whom the efficacy of a treatment can be judged. But left to their own devices, doctors were inevitably likely (even if unconsciously so) to select certain types of patients upfront, then judge the effects of a drug on this highly skewed population using subjective criteria, piling bias on top of bias. Hill

Chimamanda Ngozi Adichie recalls that the stories she wrote as a seven year old in Nigeria were based on the kinds of stories she read, featuring characters who were white and blue eyed, they played in the snow, the ate apples. According to Adichie, this wasn´t just about experimentation or an active imagination, because all I had read were books in which characters were foreign, I had become convinced that books by their very nature had to have foreigners in them and had to be about things with which I could not personally identify. We learn so many things from reading stories, including the conventions of stories such as good versus evil, confronting our fears and that danger often lurks in the woods. The problem is that, when one of these conventions is that children in stories are white, english and middle class, than you may come to learn that your own life does not qualify as subject material. Adichie describes this as "The danger of a single story" a danger that extends to stories which, whilst appearing to be diverse, rely on stereotypes and thus limit the imagination

You must let the color to set for as long as it is possible.The darker the stain,the more that he loves you," she says,her English halting,broken, but the message is clear. Emphasized by the meaningful look she shoots Vane and me. "Oh,we're not-" I start to say. We're not in love! But Vane's quick to stop me. Slipping an arm around my shoulder, he presses his lips to my cheek, bestowing on the old woman the kind of smile that encourages her to smile back in a startling display of grayed and missing teeth. His actions stunning me stupid, leaving me to sit slack faced and dumb-with heated cheeks,muddied hands, and a rising young breakout start draped over my back. Having never been in love,I admit that I'm definitely no expert on the subject. I have no idea what it feels like. Though I'm pretty sure it doesn't feel like this. I'm pretty dang positive Vane's just cast himself in yet another starring role-playing the part of my dashing young love interest,if only to appease this strange,Moroccan woman we'll never see again. Still,Vane is an actor,and an audience is an audience-no matter how small.

The will of God is revealed as you listen to the Spirit of God in the Word of God. The precepts and promises of the Bible teach us what to pray. They teach us what grace to ask for and for what work we need strength. On every page of the Bible there is subject matter for prayer. B. F. Westcott, a renowned nineteenth-century English Bible scholar, observed: “The petitions of true disciples are echoes (so to speak) of Christ’s words. As He has spoken so they speak. Their prayer is only some fragment of His teaching transformed into a supplication, and so it will necessarily be heard.”[50]   One way to pray more effectively is to echo God’s Word back to Him as you pray. We align our hearts with His heart as we pray His Words from our hearts.

Every day the same things came up; the work was never done, and the tedium of it began to weigh on me. Part of what made English a difficult subject for Korean students was the lack of a more active principle in their learning. They were accustomed to receiving, recording, and memorizing. That's the Confucian mode. As a student, you're not supposed to question a teacher; you should avoid asking for explanations because that might reveal a lack of knowledge, which can be seen as an insult to the teacher's efforts. You don't have an open, free exchange with teachers as we often have here in the West. And further, under this design, a student doesn't do much in the way of improvisation or interpretation. This approach might work well for some pursuits, may even be preferred--indeed, I was often amazed by the way Koreans learned crafts and skills, everything from basketball to calligraphy, for example, by methodically studying and reproducing a defined set of steps (a BBC report explained how the North Korean leader Kim Jong Il had his minions rigorously study the pizza-making techniques used by Italian chefs so that he could get a good pie at home, even as thousands of his subjects starved)--but foreign-language learning, the actual speaking component most of all, has to be more spontaneous and less rigid. We all saw this played out before our eyes and quickly discerned the problem. A student cannot hope to sit in a class and have a language handed over to him on sheets of paper.

But you ˹Israelites˺ turned away—except for a few of you—and were indifferent. 84. And ˹remember˺ when We took your covenant that you would neither shed each other’s blood nor expel each other from their homes, you gave your pledge and bore witness. 85. But here you are, killing each other and expelling some of your people from their homes, aiding one another in sin and aggression; and when those ˹expelled˺ come to you as captives, you still ransom them—though expelling them was unlawful for you.28 Do you believe in some of the Scripture and reject the rest? Is there any reward for those who do so among you other than disgrace in this worldly life and being subjected to the harshest punishment on the Day of Judgment? For God is never unaware of what you do.

Totalitarianism, however, does not so much promise an age of faith as an age of schizophrenia. A society becomes totalitarian when its structure becomes flagrantly artificial: that is, when its ruling class has lost its function but succeeds in clinging to power by force or fraud. Such a society, no matter how long it persists, can never afford to become either tolerant or intellectually stable. It can never permit either the truthful recording of facts, or the emotional sincerity, that literary creation demands. But to be corrupted by totalitarianism one does not have to live in a totalitarian country. The mere prevalence of certain ideas can spread a poison that makes one subject after another impossible for literary purposes. Wherever there is an enforced orthodoxy—or even two orthodoxies, as often happens—good writing stops. This was well illustrated by the Spanish civil war. To many English intellectuals the war was a deeply moving experience, but not an experience about which they could write sincerely. There were only two things that you were allowed to say, and both of them were palpable lies: as a result, the war produced acres of print but almost nothing worth reading.

So, in the still-lingering shadow of 1861–65, let us suspend disbelief for a while and look more attentively at Europe’s Great War. To a large extent, American perceptions of 1914–18 have been influenced by debates in Britain—readily accessible via the “common language.” There 1914–18 has become a literary war, a human tragedy detached from its moorings in historical events, entrenched in the mud of Flanders and Picardy, illuminated only by a few antiwar poets such as Wilfred Owen—perhaps the most studied writer in the English school curriculum after William Shakespeare. “My subject is War and the pity of War,” Owen declared. “The Poetry is in the pity.” Yet by reducing the conflict to personal tragedies, however moving, the British have lost the big picture: history has been distilled into poetry.6

Now, my all-time favorite accolade from a book reviewer was when Fernanda Pivano, Italy’s best-known critic, wrote in a leading Italian newspaper that “Tom Robbins is the most dangerous writer in the world.” I never read my reviews, even in English, but others sometimes pass choice bits along, so when I had occasion to meet the legendary Signora Pivano at a reception in Milan, I asked her what she meant by that wonderfully flattering remark. She replied, “Because you are saying zat love is zee only thing that matters and everything else eese a beeg joke.” Well, being uncertain, frankly, that is what I’d been saying, I changed the subject and inquired about her recent public denial that she’d ever gone to bed with Ernest Hemingway, whom she’d shown around Italy in the thirties. “Why didn’t you sleep with Hemingway?” I inquired. Signora Pivano sighed, closed her large brown eyes, shook her gray head, and answered in slow, heavily accented English, “I was a fool.” Okay, back to the New York Cinematheque. Why did I choose to go watch a bunch of jerky, esoteric, often self-indulgent 16mm movies rather than sleep with the sexy British actress? Move over, Fernanda, there’s room for two fools on your bus.

The beliefs and behaviour of the Restoration reflect the theories of society put forward by Thomas Hobbes in The Leviathan, which was written in exile in Paris and published in 1651. Like many texts of the time, The Leviathan is an allegory. It recalls mediaeval rather than Renaissance thinking. The leviathan is the Commonwealth, society as a total organism, in which the individual is the absolute subject of state control, represented by the monarch. Man - motivated by self-interest - is acquisitive and lacks codes of behaviour. Hence the necessity for a strong controlling state, 'an artificial man', to keep discord at bay. Self-interest and stability become the keynotes of British society after 1660, the voice of the new middle-class bourgeoisie making itself heard more and more in the expression of values, ideals, and ethics.

Remembering his creative exposition on the subject of purple-spotted dingy-dippers, Lillian gave a little huff of amusement. She had always considered Westcliff an utterly humorless man…and in that, she had misjudged him. “I thought you never lied,” she said. His lips twitched. “Given the options of seeing you become ill at the dinner table, or lying to get you out of there quickly, I chose the lesser of two evils. Do you feel better now?” “Better…yes.” Lillian realized that she was resting in the crook of his arm, her skirts draped partially over one of his thighs. His body was solid and warm, perfectly matched to hers. Glancing downward, she saw that the fabric of his trousers had molded firmly around his muscular thighs. Unladylike curiosity awakened inside her, and she clenched her fingers against the urge to slide her palm over his leg. “The part about the dingy-dipper was clever,” she said, dragging her gaze up to his face. “But inventing a Latin name for it was positively inspired.” Westcliff grinned. “I always hoped my Latin would be good for something.” Shifting her a little, he reached into the pocket of his waistcoat and glanced at his watch. “We’ll return to the dining hall in approximately a quarter hour. By that time the calves’ heads should be removed.” Lillian made a face. “I hate English food,” she exclaimed. “All those jellies and blobs, and wiggly puddings, and the game that is aged until by the time it’s served, it is older than I am, and—” She felt a tremor of amusement run through him, and she turned in the half circle of his arm. “What is so amusing?” “You’re making me afraid to go back to my own dinner table.” “You should be!” she replied emphatically, and he could no longer restrain a deep laugh.

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.

John Milton (December 9, 1608 – November 8, 1674) was an English poet, prose polemicist, and civil servant for the English Commonwealth. Most famed for his epic poem Paradise Lost, Milton is celebrated as well for his eloquent treatise condemning censorship, Areopagitica. Long considered the supreme English poet, Milton experienced a dip in popularity after attacks by T.S. Eliot and F.R. Leavis in the mid 20th century; but with multiple societies and scholarly journals devoted to his study, Milton’s reputation remains as strong as ever in the 21st century. Very soon after his death – and continuing to the present day – Milton became the subject of partisan biographies, confirming T.S. Eliot’s belief that “of no other poet is it so difficult to consider the poetry simply as poetry, without our theological and political dispositions…making unlawful entry.” Milton’s radical, republican politics and heretical religious views, coupled with the perceived artificiality of his complicated Latinate verse, alienated Eliot and other readers; yet by dint of the overriding influence of his poetry and personality on subsequent generations—particularly the Romantic movement—the man whom Samuel Johnson disparaged as “an acrimonious and surly republican” must be counted one of the most significant writers and thinkers of all time. Source: Wikipedia

And criticism - what place is that to have in our culture? Well, I think that the first duty of an art critic is to hold his tongue at all times, and upon all subjects: C'EST UN GRAND AVANTAGE DE N'AVOIR RIEN FAIT, MAIS IL NE FAUT PAS EN ABUSER. It is only through the mystery of creation that one can gain any knowledge of the quality of created things. You have listened to PATIENCE for a hundred nights and you have heard me for one only. It will make, no doubt, that satire more piquant by knowing something about the subject of it, but you must not judge of aestheticism by the satire of Mr. Gilbert. As little should you judge of the strength and splendour of sun or sea by the dust that dances in the beam, or the bubble that breaks on the wave, as take your critic for any sane test of art. For the artists, like the Greek gods, are revealed only to one another, as Emerson says somewhere; their real value and place time only can show. In this respect also omnipotence is with the ages. The true critic addresses not the artist ever but the public only. His work lies with them. Art can never have any other claim but her own perfection: it is for the critic to create for art the social aim, too, by teaching the people the spirit in which they are to approach all artistic work, the love they are to give it, the lesson they are to draw from it.

for in every country of the world, I believe, the avarice and injustice of princes and sovereign states, abusing the confidence of their subjects, have by degrees diminished the real quantity of metal, which had been originally contained in their coins. The Roman as, in the latter ages of the republic, was reduced to the twenty-fourth part of its original value, and, instead of weighing a pound, came to weigh only half an ounce. The English pound and penny contain at present about a third only; the Scots pound and penny about a thirty-sixth; and the French pound and penny about a sixty-sixth part of their original value. By means of those operations, the princes and sovereign states which performed them were enabled, in appearance, to pay their debts and fulfil their engagements with a smaller quantity of silver than would otherwise have been requisite. It was indeed in appearance only; for their creditors were really defrauded of a part of what was due to them. All other debtors in the state were allowed the same privilege, and might pay with the same nominal sum of the new and debased coin whatever they had borrowed in the old. Such operations, therefore, have always proved favourable to the debtor, and ruinous to the creditor, and have sometimes produced a greater and more universal revolution in the fortunes of private persons, than could have been occasioned by a very great public calamity.

I remember once, in talking to Mr. Burne-Jones about modern science, his saying to me, ‘the more materialistic science becomes, the more angels shall I paint: their wings are my protest in favour of the immortality of the soul.’ But these are the intellectual speculations that underlie art. Where in the arts themselves are we to find that breadth of human sympathy which is the condition of all noble work; where in the arts are we to look for what Mazzini would call the social ideas as opposed to the merely personal ideas? By virtue of what claim do I demand for the artist the love and loyalty of the men and women of the world? I think I can answer that. Whatever spiritual message an artist brings to his aid is a matter for his own soul. He may bring judgment like Michael Angelo or peace like Angelico; he may come with mourning like the great Athenian or with mirth like the singer of Sicily; nor is it for us to do aught but accept his teaching, knowing that we cannot smite the bitter lips of Leopardi into laughter or burden with our discontent Goethe’s serene calm. But for warrant of its truth such message must have the flame of eloquence in the lips that speak it, splendour and glory in the vision that is its witness, being justified by one thing only - the flawless beauty and perfect form of its expression: this indeed being the social idea, being the meaning of joy in art. Not laughter where none should laugh, nor the calling of peace where there is no peace; not in painting the subject ever, but the pictorial charm only, the wonder of its colour, the satisfying beauty of its design.

There is indeed a poetical attitude to be adopted towards all things, but all things are not fit subjects for poetry. Into the secure and sacred house of Beauty the true artist will admit nothing that is harsh or disturbing, nothing that gives pain, nothing that is debatable, nothing about which men argue. He can steep himself, if he wishes, in the discussion of all the social problems of his day, poor-laws and local taxation, free trade and bimetallic currency, and the like; but when he writes on these subjects it will be, as Milton nobly expressed it, with his left hand, in prose and not in verse, in a pamphlet and not in a lyric. This exquisite spirit of artistic choice was not in Byron: Wordsworth had it not. In the work of both these men there is much that we have to reject, much that does not give us that sense of calm and perfect repose which should be the effect of all fine, imaginative work. But in Keats it seemed to have been incarnate, and in his lovely ODE ON A GRECIAN URN it found its most secure and faultless expression; in the pageant of the EARTHLY PARADISE and the knights and ladies of Burne-Jones it is the one dominant note. It is to no avail that the Muse of Poetry be called, even by such a clarion note as Whitman’s, to migrate from Greece and Ionia and to placard REMOVED and TO LET on the rocks of the snowy Parnassus. Calliope’s call is not yet closed, nor are the epics of Asia ended; the Sphinx is not yet silent, nor the fountain of Castaly dry. For art is very life itself and knows nothing of death; she is absolute truth and takes no care of fact; she sees (as I remember Mr. Swinburne insisting on at dinner) that Achilles is even now more actual and real than Wellington, not merely more noble and interesting as a type and figure but more positive and real.

He regarded his briefcase. It was full of student papers—114 essays entitled “What I Wish.” He had been putting off reading them for over a week. He opened the briefcase, then paused, reluctant to look inside. How many student papers had he read in these twelve years? How many strokes of his red pen had he made? How many times had he underlined it’s and written its. Was there ever a student who didn’t make a mischievous younger brother the subject of an essay? Was there ever a student who didn’t make four syllables out of “mischievous”? This was the twelfth in a series of senior classes that Miles was trying to raise to an acceptable level of English usage, and like the previous eleven, this class would graduate in the spring to make room for another class in the fall, and he would read the same errors over again. This annual renewal of ignorance, together with the sad fact that most of his students had been drilled in what he taught since they were in the fifth grade, left him with a vague sense of futility that made it hard for him to read student writing. But while he had lost his urge to read student papers, he had not lost his guilt about not reading them, so he carried around with him, like a conscience...

What made Bacon’s Rebellion especially fearsome for the rulers of Virginia was that black slaves and white servants joined forces. The final surrender was by “four hundred English and Negroes in Armes” at one garrison, and three hundred “freemen and African and English bondservants” in another garrison. The naval commander who subdued the four hundred wrote: “Most of them I persuaded to go to their Homes, which accordingly they did, except about eighty Negroes and twenty English which would not deliver their Armes.” All through those early years, black and white slaves and servants ran away together, as shown both by the laws passed to stop this and the records of the courts. In 1698, South Carolina passed a “deficiency law” requiring plantation owners to have at least one white servant for every six male adult Negroes. A letter from the southern colonies in 1682 complained of “no white men to superintend our negroes, or repress an insurrection of negroes. . . .” In 1691, the House of Commons received “a petition of divers merchants, masters of ships, planters and others, trading to foreign plantations . . . setting forth, that the plantations cannot be maintained without a considerable number of white servants, as well to keep the blacks in subjection, as to bear arms in case of invasion.

Literature before the Renaissance had frequently offered ideal patterns for living which were dominated by the ethos of the church, but after the Reformation the search for individual expression and meaning took over. Institutions were questioned and re-evaluated, often while being praised at the same time. But where there had been conventional modes of expression, reflecting ideal modes of behaviour - religious, heroic, or social - Renaissance writing explored the geography of the human soul, redefining its relationship with authority, history, science, and the future. This involved experimentation with form and genre, and an enormous variety of linguistic and literary innovations in a short period of time. Reason, rather than religion, was the driving force in this search for rules to govern human behaviour in the Renaissance world. The power and mystique of religion had been overthrown in one bold stroke: where the marvellous no longer holds sway, real life has to provide explanations. Man, and the use he makes of his powers, capabilities, and free will, is thus the subject matter of Renaissance literature, from the early sonnets modelled on Petrarch to the English epic which closes the period, Paradise Lost, published after the Restoration, when the Renaissance had long finished. The Reformation gave cultural, philosophical, and ideological impetus to English Renaissance writing. The writers in the century following the Reformation had to explore and redefine all the concerns of humanity. In a world where old assumptions were no longer valid, where scientific discoveries questioned age-old hypotheses, and where man rather than God was the central interest, it was the writers who reflected and attempted to respond to the disintegration of former certainties. For it is when the universe is out of control that it is at its most frightening - and its most stimulating. There would never again be such an atmosphere of creative tension in the country. What was created was a language, a literature, and a national and international identity.

No doubt the movement which rightly or wrongly we have learnt to call the emancipation of women is in the first place a result of the transformation of society into a capitalist and industrial community, in which the home has lost its importance as an economic and productive unity. But the bitter tone of the champions of Woman’s Rights in their arraignment of man’s rule, the suspiciousness which refused to believe that anything but oppression and masculine tyranny was at the bottom of a great number of laws and customs, which in reality were designed just as much to safeguard women and provide them with protectors and maintenance—the rabidity of militant feminists, in short—was a direct reaction against a dressing-gown and slippers tyranny which was peculiar to non-Catholic Europe at the beginning of the nineteenth century—a revolt against mock heroes who slouched about their homes trying to assert authority over their womenfolk. The other day I came across a book which illustrates in a rather droll way the extent to which Northern European women have taken it for granted that this peculiar North European form of the subjection of women since the Reformation was characteristic of the whole past of Europe. It was a little essay by an English writer, Virginia Woolf—I confess that it is all I have read of hers,1 but she is said to have a great reputation as a novelist.

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.

Milton argued, in 1649, after the execution of Charles I, that a people 'free by nature' had a right to overthrow a tyrant; a subject that recalls vividly the questions examined by Shakespeare in his major tragedies about fifty years before. Milton continued to defend his ideals of freedom and republicanism. But at the Restoration, by which time he was blind, he was arrested. Various powerful contacts allowed him to be released after paying a fine, and his remaining years were devoted to the composition - orally, in the form of dictation to his third wife - of his epic poem on the fall of humanity, Paradise Lost, which was published in 1667. It is interesting that - like Spenser and Malory before him, and like Tennyson two centuries later - Milton was attracted to the Arthurian legends as the subject for his great epic. But the theme of the Fall goes far beyond a national epic, and gave the poet scope to analyse the whole question of freedom, free will, and individual choice. He wished, he said, to 'assert eternal providence,/And justify the ways of God to men'. This has been seen as confirmation of Milton's arrogance, but it also signals the last great attempt to rationalise the spirit of the Renaissance: mankind would not exist outside Paradise if Satan had not engineered the temptation and fall of Adam and Eve. For many critics, including the poets Blake and Shelley, Satan, the figure of the Devil, is the hero of the poem.

Instead of storing those countless microfilmed pages alphabetically, or according to subject, or by any of the other indexing methods in common use—all of which he found hopelessly rigid and arbitrary—Bush proposed a system based on the structure of thought itself. "The human mind . . . operates by association," he noted. "With one item in its grasp, it snaps instantly to the next that is suggested by the association of thoughts, in accordance with some intricate web of trails carried by the cells of the brain. . . . The speed of action, the intricacy of trails, the detail of mental pictures [are] awe-inspiring beyond all else in nature." By analogy, he continued, the desk library would allow its user to forge a link between any two items that seemed to have an association (the example he used was an article on the English long bow, which would be linked to a separate article on the Turkish short bow; the actual mechanism of the link would be a symbolic code imprinted on the microfilm next to the two items). "Thereafter," wrote Bush, "when one of these items is in view, the other can be instantly recalled merely by tapping a button. . . . It is exactly as though the physical items had been gathered together from widely separated sources and bound together to form a new book. It is more than this, for any item can be joined into numerous trails." Such a device needed a name, added Bush, and the analogy to human memory suggested one: "Memex." This name also appeared for the first time in the 1939 draft. In any case, Bush continued, once a Memex user had created an associative trail, he or she could copy it and exchange it with others. This meant that the construction of trails would quickly become a community endeavor, which would over time produce a vast, ever-expanding, and ever more richly cross-linked web of all human knowledge. Bush never explained where this notion of associative trails had come from (if he even knew; sometimes things just pop into our heads). But there is no doubt that it ranks as the Yankee Inventor's most profoundly original idea. Today we know it as hypertext. And that vast, hyperlinked web of knowledge is called the World Wide Web.

To haste as a cause of confusion must be added distraction. Normally, except for those who work in the early hours of the morning, or who live up a long country lane, it is almost impossible to avoid being disturbed by incidental noises of traffic, industry, schools, and the wireless, or by the telephone, or by callers. Few people can immediately switch their minds from one complicated subject to another, and presently switch back again, without losing something in the process. Most business men and journalists claim that they are accustomed to noise and can ‘work through anything’. But this does not mean that they are not affected by noise: part of the brain must be employed in sorting out the noises and discounting them. The intense concentration achieved when one writes in complete silence, security and leisure, with the mental senses cognizant of every possible aspect of the theme as it develops—this was always rare and is now rarer than ever. Modern conditions of living encourage habitual distraction and, though there are still opportunities for comparative quiet, most people feel that they are not really alive unless they are in close touch with their fellow men—and close touch involves constant disturbance. Hart Crane, a leading American poet of the Nineteen-Twenties, decided that he could not write his best except with a radio or victrola playing jazz at him and street-noises coming up through the open window. He considered that distraction was the chief principle of modern living; he cultivated it, distractedly, and committed suicide in his early thirties.

The fashion now is to think of universities as industries or businesses. University presidents, evidently thinking of themselves as CEO's, talk of "business plans" and "return on investment," as if the industrial economy could provide an aim and a critical standard appropriate either to education or to research. But this is not possible. No economy, industrial or otherwise, can supply an appropriate aim or standard. Any economy must be either true or false to the world and to our life in it. If it is to be true, then it must be made true, according to a standard that is not economic. To regard the economy as an end or as the measure of success is merely to reduce students, teachers, researchers, and all they know or learn to merchandise. It reduces knowledge to "property" and education to training for the "job market." If, on the contrary, [Sir Albert] Howard was right in his belief that health is the "one great subject," then a unifying aim and a common critical standard are clearly implied. Health is at once quantitative and qualitative; it requires both sufficiency and goodness. It is comprehensive (it is synonymous with "wholeness"), for it must leave nothing out. And it is uncompromisingly local and particular; it has to do with the sustenance of particular places, creatures, human bodies, and human minds. If a university began to assume responsibility for the health of its place and its local constituents, then all of its departments would have a common aim, and they would have to judge their place and themselves and one another by a common standard. They would need one another's knowledge. They would have to communicate with one another; the diversity of specialists would have to speak to one another in a common language. And here again Howard is exemplary, for he wrote, and presumably spoke, a plain, vigorous, forthright English-- no jargon, no condescension, no ostentation, no fooling around.

The Restoration did not so much restore as replace. In restoring the monarchy with King Charles II, it replaced Cromwell's Commonwealth and its Puritan ethos with an almost powerless monarch whose tastes had been formed in France. It replaced the power of the monarchy with the power of a parliamentary system - which was to develop into the two parties, Whigs and Tories - with most of the executive power in the hands of the Prime Minister. Both parties benefited from a system which encouraged social stability rather than opposition. Above all, in systems of thought, the Restoration replaced the probing, exploring, risk-taking intellectual values of the Renaissance. It relied on reason and on facts rather than on speculation. So, in the decades between 1660 and 1700, the basis was set for the growth of a new kind of society. This society was Protestant (apart from the brief reign of the Catholic King James II, 1685-88), middle class, and unthreatened by any repetition of the huge and traumatic upheavals of the first part of the seventeenth century. It is symptomatic that the overthrow of James II in 1688 was called The 'Glorious' or 'Bloodless' Revolution. The 'fever in the blood' which the Renaissance had allowed was now to be contained, subject to reason, and kept under control. With only the brief outburst of Jacobin revolutionary sentiment at the time of the Romantic poets, this was to be the political context in the United Kingdom for two centuries or more. In this context, the concentration of society was on commerce, on respectability, and on institutions. The 'genius of the nation' led to the founding of the Royal Society in 1662 - 'for the improving of Natural Knowledge'. The Royal Society represents the trend towards the institutionalisation of scientific investigation and research in this period. The other highly significant institution, one which was to have considerably more importance in the future, was the Bank of England, founded in 1694.

Haven’t I tired you out yet, darling?” Ian whispered several hours later. “Yes,” she said with an exhausted laugh, her cheek nestled against his shoulder, her hand drifting over his chest in a sleepy caress. “But I’m too happy to sleep for a while yet.” So was Ian, but he felt compelled to at least suggest that she try. “You’ll regret it in the morning when we have to appear for breakfast,” he said with a grin, cuddling her closer to his side. To his surprise, the remark made her smooth forehead furrow in a frown. She tipped her face up to his, opened her mouth as if to ask him a question, then she changed her mind and hastily looked away. “What is it?” he asked, taking her chin between his thumb and forefinger and lifting her face up to his. “Tomorrow morning,” she said with a funny, bemused expression on her face. “When we go downstairs…will everyone know what we have done tonight?” She expected him to try to evade the question. “Yes,” he said. She nodded, accepting that, and turned into his arms. “Thank you for telling me the truth,” she said with a sigh of contentment and gratitude. “I’ll always tell you the truth,” he promised quietly, and she believed him. It occurred to Elizabeth that she could ask him now, when he’d given that promise, if he’d had anything to do with Robert’s disappearance. And as quickly as the thought crossed her mind, she pushed it angrily away. She would not defame their marriage bed by voicing ugly, unfounded suspicions carried to her by a man who obviously had a grudge against all Scots. This morning, she had made a conscious decision to trust him and marry him; now, she was bound by her vows to honor him, and she had absolutely no intention of going back on her own decision or on the vow she made to him in church. “Elizabeth?” “Mmmm?” “While we’re on the subject of truth, I have a confession to make.” Her heart slammed into her ribs, and she went rigid. “What is it?” she asked tautly. “The chamber next door is meant to be used as your dressing room and withdrawing room. I do not approve of the English custom of husband and wife sleeping in separate beds.” She looked so pleased that Ian grinned. “I’m happy to see,” he chuckled, kissing her forehead, “we agree on that.

The so much boasted constitution of England. That it was noble for the dark and slavish times in which it was erected, is granted. When the world was over run with tyranny the least remove therefrom was a glorious rescue. But that it is imperfect, subject to convulsions, and incapable of producing what it seems to promise, is easily demonstrated. Absolute governments (tho’ the disgrace of human nature) have this advantage with them, that they are simple; if the people suffer, they know the head from which their suffering springs, know likewise the remedy, and are not bewildered by a variety of causes and cures. But the constitution of England is so exceedingly complex, that the nation may suffer for years together without being able to discover in which part the fault lies, some will say in one and some in another, and every political physician will advise a different medicine. I know it is difficult to get over local or long standing prejudices, yet if we will suffer ourselves to examine the component parts of the English constitution, we shall find them to be the base remains of two ancient tyrannies, compounded with some new republican materials. First.—The remains of monarchical tyranny in the person of the king. Secondly.—The remains of aristocratical tyranny in the persons of the peers. Thirdly.—The new republican materials, in the persons of the commons, on whose virtue depends the freedom of England. The two first, by being hereditary, are independent of the people; wherefore in a constitutional sense they contribute nothing towards the freedom of the state. To say that the constitution of England is a union of three powers reciprocally checking each other, is farcical, either the words have no meaning, or they are flat contradictions. To say that the commons is a check upon the king, presupposes two things: First.—That the king is not to be trusted without being looked after, or in other words, that a thirst for absolute power is the natural disease of monarchy. Secondly.—That the commons, by being appointed for that purpose, are either wiser or more worthy of confidence than the crown. But as the same constitution which gives the commons a power to check the king by withholding the supplies, gives afterwards the king a power to check the commons, by empowering him to reject their other bills; it again supposes that the king is wiser than those whom it has already supposed to be wiser than him. A mere absurdity!

The 1950s and 1960s: philosophy, psychology, myth There was considerable critical interest in Woolf ’s life and work in this period, fuelled by the publication of selected extracts from her diaries, in A Writer’s Diary (1953), and in part by J. K. Johnstone’s The Bloomsbury Group (1954). The main critical impetus was to establish a sense of a unifying aesthetic mode in Woolf ’s writing, and in her works as a whole, whether through philosophy, psychoanalysis, formal aesthetics, or mythopoeisis. James Hafley identified a cosmic philosophy in his detailed analysis of her fiction, The Glass Roof: Virginia Woolf as Novelist (1954), and offered a complex account of her symbolism. Woolf featured in the influential The English Novel: A Short Critical History (1954) by Walter Allen who, with antique chauvinism, describes the Woolfian ‘moment’ in terms of ‘short, sharp female gasps of ecstasy, an impression intensified by Mrs Woolf ’s use of the semi-colon where the comma is ordinarily enough’. Psychological and Freudian interpretations were also emerging at this time, such as Joseph Blotner’s 1956 study of mythic patterns in To the Lighthouse, an essay that draws on Freud, Jung and the myth of Persephone.4 And there were studies of Bergsonian writing that made much of Woolf, such as Shiv Kumar’s Bergson and the Stream of Consciousness Novel (1962). The most important work of this period was by the French critic Jean Guiguet. His Virginia Woolf and Her Works (1962); translated by Jean Stewart, 1965) was the first full-length study ofWoolf ’s oeuvre, and it stood for a long time as the standard work of critical reference in Woolf studies. Guiguet draws on the existentialism of Jean-Paul Sartre to put forward a philosophical reading of Woolf; and he also introduces a psychobiographical dimension in the non-self.’ This existentialist approach did not foreground Woolf ’s feminism, either. his heavy use of extracts from A Writer’s Diary. He lays great emphasis on subjectivism in Woolf ’s writing, and draws attention to her interest in the subjective experience of ‘the moment.’ Despite his philosophical apparatus, Guiguet refuses to categorise Woolf in terms of any one school, and insists that Woolf has indeed ‘no pretensions to abstract thought: her domain is life, not ideology’. Her avoidance of conventional character makes Woolf for him a ‘purely psychological’ writer.5 Guiguet set a trend against materialist and historicist readings ofWoolf by his insistence on the primacy of the subjective and the psychological: ‘To exist, for Virginia Woolf, meant experiencing that dizziness on the ridge between two abysses of the unknown, the self and

Today there is much talk about democratic ideals in the outside world. But not in Germany! For here in Germany we had more than enough time-fifteen years-to acquaint ourselves with these democratic ideals. And we ourselves had to pick up the legacy left behind by this democracy. Now we are being credited with many a truly astounding war aim, especially by the English. After all, England is quite experienced in issuing proclamations of objectives in warfare as it has waged the greatest number of wars the world over. Truly astounding are the war aims announced to us today. A new Europe will arise. This Europe will be characterized by justice. This justice will render armament obsolete. This will lead to disarmament at last. This disarmament in turn will bring about an economic blossoming. Change and trade will spring up-much trade-free trade. And with the sponsorship of this trade, culture shall once more blossom, and not only culture will benefit, but religion will also prosper. In other words: we are heading towards a golden age! Well, we have heard of this golden age before. Many times precisely the same people attempted to illustrate its virtues to us who are now flooding us with descriptions of its benefits. The records are old ones, played once too often. We can only pity these gentlemen who cannot even come up with a new idea to trap a great people. For all this they had already promised us in 1918. Then, too, England’s objectives in the war were the creation of this “new Europe,” the establishment of a “new justice,” of which the “right to selfdetermination of the peoples” was to form an integral part. Back then already they promised us justice to render obsolete-for all time-the bearing of any sort of weaponry. Back then already they submitted to us a program for disarmament-one for global disarmament. To make this disarmament more evident, it was to be crowned by the establishment of an association of nations bearing no arms. These were to settle their differences in the future-for even back then there was no doubt that differences would still arise-by talking them to death in discussion and debate, just as is the custom in democratic states. There would be no more shooting under any circumstances! In 1918, they declared a blessed and pious age to come! What came to pass in its stead we all lived to see: the old states were destroyed without even as much as asking their citizenry. Historic, ancient structures were severed, not only state bodies but grown economic structures as well, without anything better to take their place. In total disregard of the principle of the right to self-determination of the peoples, the European peoples were hacked to pieces, torn apart. Great states were dissolved. Nations were robbed of their rights, first rendered utterly defenseless and then subjected to a division which left only victors and vanquished in this world. And then there was no more talk of disarmament. To the contrary, armament went on. Nor did any efforts materialize to settle conflicts peacefully. The armed states waged wars just as before. Yet those who had been disarmed were no longer in a position to ward off the aggressions of those well armed. Naturally, this did not herald economic prosperity but, to the contrary, produced a network of lunatic reparations payments which led to increasing destitution for not only the vanquished, but also the so-called victors themselves. The consequences of this economic destitution were felt most acutely by the German Volk. International finance remained brutal and squeezed our Volk ruthlessly. Adolf Hitler – speech in the Sportpalast Berlin, January 30, 1940