Exposition Quotes

The greatest hazard of all, losing one’s self, can occur very quietly in the world, as if it were nothing at all. No other loss can occur so quietly; any other loss - an arm, a leg, five dollars, a wife, etc. - is sure to be noticed.

Women were created from the rib of man to be beside him, not from his head to top him, nor from his feet to be trampled by him, but from under his arm to be protected by him, near to his heart to be loved by him.

People who lean on logic and philosophy and rational exposition end by starving the best part of the mind.

And this is one of the most crucial definitions for the whole of Christianity; that the opposite of sin is not virtue but faith.

The self is a relation which relates itself to its own self, or it is that in the relation that the relation relates itself to its own self; the self is not the relation but that the relation relates itself to its own self.

to have faith is precisely to lose one's mind so as to win God.

With every increase in the degree of consciousness, and in proportion to that increase, the intensity of despair increases: the more consciousness the more intense the despair

My standard for verisimilitude is simple and I came to it when I started to write prose narrative: fuck the average reader. I was always told to write for the average reader in my newspaper life. The average reader, as they meant it, was some suburban white subscriber with two-point-whatever kids and three-point-whatever cars and a dog and a cat and lawn furniture. He knows nothing and he needs everything explained to him right away, so that exposition becomes this incredible, story-killing burden. Fuck him. Fuck him to hell.

If I profess with loudest voice and clearest exposition every portion of the truth of God except that little point which the world and the Devil are at that moment attacking, I am not confessing Christ, however boldly I may be professing Christ. Where the battle rages, there the loyalty of the soldier is proved, and to be steady on all the battlefield besides, is mere flight and disgrace if he flinches at that point.

شایع ترین نوع نومیدی آن است که فرد نخواهد خودش باشد.

Give yourself to reading.’... You need to read. Renounce as much as you will all light literature, but study as much as possible sound theological works, especially the Puritanic writers, and expositions of the Bible.

History is the fruit of power, but power itself is never so transparent that its analysis becomes superfluous. The ultimate mark of power may be its invisibility; the ultimate challenge, the exposition of its roots.

The exposition of Atrocious Torture Instruments could not fail to appeal to a connoisseur of the worst in mankind. But the essence of the worst, the true asafoetida of the human spirit, is not found in the Iron Maiden or the whetted edge; Elemental Ugliness is found in the faces of the crowd.

The sense of beauty puts a brake upon destruction, by representing its object as irreplaceable. When the world looks back at me with my eyes, as it does in aesthetic experience, it is also addressing me in another way. Something is being revealed to me, and I am being made to stand still and absorb it. It is of course nonsense to suggest that there are naiads in the trees and dryads in the groves. What is revealed to me in the experience of beauty is a fundamental truth about being - the truth that being is a gift, and receiving it is a task. This is a truth of theology that demands exposition as such.

In the deepest sense, the being in a state of sin is the sin, the particular sins are not the continuation of sin, they are expressions of its continuation.

Let us speak of this in purely human terms. Oh! how pitiable a person who has never felt the loving urge to sacrifice everything for love, who has therefore been unable to do so!

anything which we are taught by allegory or emblem affects and pleases us more, and is more highly esteemed by us, than it would be if most clearly stated in plain terms.

Exposition, criticism, appreciation, is work for second-rate minds. I

Returning his pen to its holder, he told us, 'I will have him gutted with that scythe. I will hang him by his own intestines.' At this piece of dramatic exposition, I could not hep but roll my eyes. A length of intestines would not carry the weight of a child, much less a full grown man.

Here bhikkhus, some misguided men learn the Dhamma–discourses, stanzas, expositions, verses, exclamations, sayings, birth stories, marvels, and answers to questions–but having learned the Dhamma, they do not examine the meaning of those teachings with wisdom. Not examining the meaning of those teachings with wisdom, they do not gain a reflective acceptance of them. Instead they learn the Dhamma only for the sake of criticising others and for winning in debates, and they do not experience the good for the sake of which they learned the Dhamma.

I cannot be the only reader who has wondered why God, having given him [St. Paul] so many gifts, withheld from him (what would seem so necessary for the first Christian theologian) that of lucidity and orderly exposition.

If I profess with the loudest voice and clearest exposition every portion of the truth of God except precisely that little point which the world and the devil are at the moment attacking, I am not confessing Christ, however boldly I may be professing Christ. Where the battle rages, there the loyalty of the soldier is proved. And to be steady on all the battle fields besides is merely flight and disgrace if he flinches at that point.

Exposition: the workings of the actual past + the virtual past may be illustrated by an event well known to collective history, such as the sinking of the Titanic. The disaster as it actually occurred descends into obscurity as its eyewitnesses die off, documents perish + the wreck of the ship dissolves in its Atlantic grave. Yet a virtual sinking of the Titanic, created from reworked memories, papers, hearsay, fiction--in short, belief--grows ever "truer." The actual past is brittle, ever-dimming + ever more problematic to access + reconstruct: in contrast, the virtual past is malleable, ever-brightening + ever more difficult to circumvent/expose as fraudulent. The present presses the virtual past into its own service, to lend credence to its mythologies + legitimacy to the imposition of will. Power seeks + is the right to "landscape" the virtual past. (He who pays the historian calls the tune.) Symmetry demands an actual + virtual future too. We imagine how next week, next year, or 2225 will shape up--a virtual future, constructed by wishes, prophecies + daydreams. This virtual future may influence the actual future, as in a self-fulfilling prophecy, but the actual future will eclipse our virtual one as surely as tomorrow eclipses today. Like Utopia, the actual future + the actual past exist only in the hazy distance, where they are no good to anyone. Q: Is there a meaningful distinction between one simulacrum of smoke, mirrors + shadows--the actual past--from another such simulacrum--the actual future? One model of time: an infinite matryoshka doll of painted moments, each "shell" (the present) encased inside a nest of "shells" (previous presents) I call the actual past but which we perceive as the virtual past. The doll of "now"likewise encases a nest of presents yet to be, which I call the actual future but which we perceive as the virtual future.

I realized that my life of late had consisted of far too much dialogue and not enough exposition. I imagined an angry, bespectacled English teacher slashing his pen through the transcript of my life, wondering how someone could possibly say so much and think so little.

She holds up a finger. "I'm getting to it. Don't rush a girl in the middle of her exposition.

When you observe that the fire in your room is getting dull, you do not always put on more coal, but simply stir with the poker; so God often uses the black poker of adversity in order that the flames of devotion may burn more brightly.

This is the way a person always gains courage; when he fears a greater danger, he always has the courage to face a lesser one; when he is exceedingly afraid of one danger, it is as if the others did not exist at all.

But, the true reason for the success of such new expositions [translated Eastern religious texts] is to be found where they are the most accommodating, least rigid, least severe, most vague, and ready to come to easy terms with the prejudices and weaknesses of the modern world. Let everyone have the courage to look deeply into himself and to see what it is that he really wants.

For complexity does not inevitably heighten a story's verisimilitude, or its power to convince; sometimes simplicity and economy make for a more vigorous exposition, propelling the drama forward.

He who first invented the notion of defending Christianity is de facto Judas No. 2; he also betrays with a kiss, only his treachery is that of stupidity.

Many questions were troubling the explorer, but at the sight of the prisoner he asked only: "Does he know his sentence?" "No," said the officer, eager to go on with his exposition, but the explorer interrupted him: "He doesn't know the sentence that has been passed on him?" "No," said the officer again, pausing a moment as if to let the explorer elaborate his question, and then said: "There would be no point in telling him. He'll learn it on his body.

If then, if you have lived in despair, then whatever else you won or lost, for you everything is lost, eternity does not acknowledge you, it never knew you, or, still more dreadful, it knows you as you are known, it manacles you to your self in despair.

Whether you are man or woman, rich or poor, dependent or free, happy or unhappy; whether you bore in your elevation the splendour of the crown or in humble obscurity only the toil and heat of the day; whether your name will be remembered for as long as the world lasts, and so will have been remembered as long as it lasted, or you are without a name and run namelessly with the numberless multitude; whether the glory that surrounded you surpassed all human description, or the severest and most ignominious human judgment was passed on you -- eternity asks you and every one of these millions of millions, just one thing: whether you have lived in despair or not, whether so in despair that you did not know that you were in despair, or in such a way that you bore this sickness concealed deep inside you as your gnawing secret, under your heart like the fruit of a sinful love, or in such a way that, a terror to others, you raged in despair. If then, if you have lived in despair, then whatever else you won or lost, for you everything is lost, eternity does not acknowledge you, it never knew you, or, still more dreadful, it knows you as you are known, it manacles you to yourself in despair!

a new beer did well, winning the exposition’s top beer award. Forever afterward, its brewer called it Pabst Blue Ribbon.

Dating is poetry. Marriage is a novel. There are times, maybe years, that are all exposition.

Everything bad in the Old Testament (and there's a lot) is there to point out our sin, while everything good in the Old Testament is there to point us to our Savior.

For the Bible, despite all its contradictions and absurdities, its barbarisms and obscenities, remains grand and gaudy stuff, and so it deserves careful study and enlightened exposition. It is not only lovely in phrase; it is also rich in ideas, many of them far from foolish. One somehow gathers the notion that it was written from end to end by honest men—inspired, perhaps, but nevertheless honest. When they had anything to say they said it plainly, whether it was counsel that enemies be slain or counsel that enemies be kissed. They knew how to tell a story, and how to sing a song, and how to swathe a dubious argument in specious and disarming words.

It does not answer the aim which God had in this institution, merely for men to have good commentaries and expositions on the Scripture, and other good books of divinity; because, although these may tend, as well as preaching, to give a good doctrinal or speculative understanding of the word of God, yet they have not an equal tendency to impress them on men's hearts and affections. God hath appointed a particular and lively application of his word, in the preaching of it, as a fit means to affect sinners with the importance of religion, their own misery, the necessity of a remedy, and the glory and sufficiency of a remedy provided; to stir up the pure minds of the saints, quicken their affections by often bringing the great things of religion in their remembrance, and setting them in their proper colours, though they know them, and have been fully instructed in them already.

خود بودن، ماجراجویانه است. مانند دیگران بودن، نسخه ی تقلیدی بودن، تبدیل شدن به یک عدد در میان جمعیت، بسیار آسان تر و امن تر است.

Si on ouvrait des gens, on trouverait des paysages. Si on m'ouvrait moi, on trouverait des plages.

We can say that Faustus makes a choice, and that he is responsible for his choice, but there is in the play a suggestion—sometimes explicit, sometimes only dimly implicit—that Faustus comes to destruction not merely through his own actions but through the actions of a hostile cosmos that entraps him. In this sense, too, there is something of Everyman in Faustus. The story of Adam, for instance, insists on Adam's culpability; Adam, like Faustus, made himself, rather than God, the center of his existence. And yet, despite the traditional expositions, one cannot entirely suppress the commonsense response that if the Creator knew Adam would fall, the Creator rather than Adam is responsible for the fall; Adam ought to have been created of better stuff.

And what is it that preachers do, to this very day? Do they interpret and expound the Scriptures? Yet if the Scripture they expound is uncertain, who can assure us that heir exposition is certain? Another new exposition? And who will expound the exposition? At this rate we will go on forever. In short, if Scripture is obscure or ambiguous, what part is there in God's giving it to us?

General Electric rather miraculously came back with a bid of $554,000. But Westinghouse, whose AC system was inherently cheaper and more efficient, bid $399,000. The exposition went with Westinghouse, and helped change the history of electricity.

It is the truth which is assailed in any age which tests our fidelity. It is to confess we are called, not merely to profess. If I profess, with the loudest voice and the clearest exposition, every portion of the truth of God except precisely that little point which the world and the devil are at that moment attacking, I am not confessing Christ, however boldly I may be professing Christianity. Where the battle rages the loyalty of the soldier is proved; and to be steady on all the battle-field besides is mere flight and disgrace to him if he flinches at that one point.

(D)ialogue is generally the worst choice for exposition. 'When you're writing lines...you need to focus on the way people actually talk. And when we talk to each other we never actually explain our terms. We don't say 'Sweetheart, would you pass me the sugar bowl, which we picked up for a song at that antique stall in Munich.

You attain to knowledge by argument; You attain a craft or skill by practice; If voluntary poverty's your choice, companionship's the way, not hand or tongue. The knowledge of it passes soul to soul, not by way of talk or reams of notes. Its signs are writ upon the seeker's heart, yet still the seeker cannot ken those signs until his heart becomes exposed to light Then God reveals His: Did We not expose? [Qur'an 94:1] for We've exposed the chambers of your breast and placed the exposition in your heart

They saw even more ungodly things—the first zipper; the first-ever all-electric kitchen, which included an automatic dishwasher; and a box purporting to contain everything a cook would need to make pancakes, under the brand name Aunt Jemima’s. They sampled a new, oddly flavored gum called Juicy Fruit, and caramel-coated popcorn called Cracker Jack. A new cereal, Shredded Wheat, seemed unlikely to succeed—“shredded doormat,” some called it—but a new beer did well, winning the exposition’s top beer award. Forever afterward, its brewer called it Pabst Blue Ribbon.

To defend something is always to discredit it. Let a man have a warehouse full of gold, let him be willing to give away a ducat to every one of the poor - but let him also be stupid enough to begin this charitable undertaking of his with a defence in which he offers three good reasons in justification; and it will almost come to the point of people finding it doubtful whether indeed he is doing something good. But now for Christianity. Yes, the person who defends that has never believed in it. If he does believe, then the enthusiasm of faith is not a defence, no, it is the assault and the victory; a believer is a victor.

A human being is spirit. But what is spirit? Spirit is the self. But what is the self? The self is a relation that relates itself to itself or is the relation's relating itself to itself in the relation; the self is not the relation but is the relation's relating itself to itself. A human being is a synthesis of the infinite and the finite, of the temporal and the eternal, of freedom and necessity, in short, a synthesis. A synthesis is a relation between two. Considered in this way a human being is still not a self.... In the relation between two, the relation is the third as a negative unity, and the two relate to the relation and in the relation to the relation; thus under the qualification of the psychical the relation between the psychical and the physical is a relation. If, however, the relation relates itself to itself, this relation is the positive third, and this is the self.

Exposition is a mode of thought, a method of learning, and a means of expression. Almost all of the characteristics we associate with mature discourse were amplified by typography, which has the strongest possible bias toward exposition: a sophisticated ability to think conceptually, deductively and sequentially; a high valuation of reason and order; an abhorrence of contradiction; a large capacity for detachment and objectivity; and a tolerance for delayed response.

The bad preacher takes the ideas of our own age and tricks them out into the traditional language of Christianity. The core of his thought is merely contemporary; only the superficies is traditional. But your teaching must be timeless at its heart and wear modern dress.

Whilst we are in the body, we need a change even in spiritual things; and this change the Lord has graciously provided in the great variety which is to be found in His word.

انسانى كه در شادى و غم زندگى چنان غرق مى شود كه سراسر عمرش از "نفْس" و "خويشتنِ" خود آگاه نمى شود، زندگى اش به هدر رفته است.

THE POLICEMAN: I'm a policeman. I'm paid by those in charge to combat dissatisfaction.

To believe is indeed to lose the understanding in order to gain God.

It is the part of a wise man not to seek for evil, but to endure it.

On the whole, the longing for solitude is a sign that there still is spirit in a person and is the measure of what spirit there is. [...] In antiquity as well as in the Middle Ages there was an awareness of this longing for solitude and a respect for what it means; whereas in the constant sociality of our day we shrink from solitude to the point (what a capital epigram!) that no use for it is known other than as a punishment for criminals.

Should a priest reject relativity because it contains no authoritative exposition on the doctrine of the Trinity? Once you realize that the Bible does not purport to be a textbook of science, the old controversy between religion and science vanishes . . . The doctrine of the Trinity is much more abstruse than anything in relativity or quantum mechanics; but, being necessary for salvation, the doctrine is stated in the Bible. If the theory of relativity had also been necessary for salvation, it would have been revealed to Saint Paul or to Moses.

That God lets himself be born and becomes a human being, is no idle whim, something that occurs to him so as to have something to do, perhaps to put a stop to the boredom that has brashly been said to be bound up with being God-it is not to have an adventure. No, the fact that God does this is the seriousness of existence. And the seriousness in this seriousness is, in turn, that each shall have an opinion about it.

It's impossible to initiate a rational dialogue with someone about beliefs and concepts if he has not acquired them through reason. It doesn't matter whether we're looking at God, race, or national pride. That's why I need something more powerful than a simple rhetorical exposition. I need the strength of art, of stagecraft. We think we understand a song's lyrics, but what makes us believe in them, or not, is the music.

The doctrine that God can be incarnated in human form is found in most of the principal historic expositions of the Perennial Philosophy—in Hinduism, in Mahayana Buddhism, in Christianity and in the Mohammedanism of the Sufis, by whom the Prophet was equated with the eternal Logos. When goodness grows weak, When evil increases, I make myself a body. In every age I come back To deliver the holy, To destroy the sin of the sinner, To establish righteousness. He who knows the nature Of my task and my holy birth Is not reborn When he leaves this body; He comes to Me. Flying from fear, From lust and anger, He hides in Me, His refuge and safety. Burnt clean in the blaze of my being, In Me many find home. Bhagavad Gita

All this happened in much less time than it takes to tell, since I am trying to interpret for you into slow speech the instantaneous effect of visual impressions.

He who is supremely good Himself is always working out good,

love is a greater gift than knowledge; for whenever a man has the gift of knowledge, love is necessary by the side of it, that he be not puffed up.

even in pressing straits the word of God is not bound, not even in preachers who are bound.

Vanity and truth are directly contrary to one another.

For it is one thing to fall into sin, another to form the habit of sinning.

What we call worldliness simply consists of such people who, if one may so express it, pawn themselves to the world.

However alarming, however distressing self-knowledge may be, better that than the tremendous evils of self-ignorance."--Caird.

مردم از کنار بزرگ ترین خطر، که همانا از دست دادنِ "خویشتنِ" خود است، چنان بی سر و صدا می گذرند که انگار هیچ اهمیتی ندارد؛ از دست دادنِ هر چیز دیگر، مثل دست و پا، یک پنج دلاری، همسر و غیره، بیشتر مورد توجهشان قرار می گیرد.

This was the unbounded power of eloquence—of words—of burning noble words. There were no practical hints to interrupt the magic current of phrases, unless a kind of note at the foot of the last page, scrawled evidently much later, in an unsteady hand, may be regarded as the exposition of a method. It was very simple, and at the end of that moving appeal to every altruistic sentiment it blazed at you, luminous and terrifying, like a flash of lightning in a serene sky: "Exterminate all the brutes!

The first morning I really sat and watched him it was a Tuesday. I know that because Tuesday is trash day for our neighborhood. Unlike me, he leaves gathering up his trash for the morning of pickup instead of doing it the night before. My alarm went off at 6 AM and I went in to start the coffee maker, and as I went about selecting a bit of fruit from the bowl on my kitchen table I looked out the window. It was just a casual glance, and the human eye is attracted to movement.

[Science] dissipates errors born of ignorance about our true relations with nature, errors the more damaging in that the social order should rest only on those relations. TRUTH! JUSTICE! Those are the immutable laws. Let us banish the dangerous maxim that it is sometimes useful to depart from them and to deceive or enslave mankind to assure its happiness.

Gregory observed that our Saviour had not styled us the sugar but the salt of the earth,

The Lord was looking for fruit on the tree. He found “nothing but leaves.” There are thousands of people like that. They dress up like Christians, but it is all leaves. “Herein is my Father glorified, that ye bear much fruit …” (John 15:8). He has no way in which to get fruit, only through us. We have not to be ordinary people. To be saved is to be an extraordinary man, an exposition of God. When Jesus was talking about the new life He said, “…Except a man be born again [of God], he cannot see the kingdom of God. That which is born of the flesh is flesh; and that which is

T. S. Eliot and Jean-Paul Sartre, dissimilar enough as thinkers, both tend to undervalue prose and to deny it any imaginative function. Poetry is the creation of linguistic quasi-things; prose is for explanation and exposition, it is essentially didactic, documentary, informative. Prose is ideally transparent; it is only faute de mieux written in words. The influential modern stylist is Hemingway. It would be almost inconceivable now to write like Landor. Most modern English novels indeed are not written. One feels they could slip into some other medium without much loss. It takes a foreigner like Nabokov or an Irishman like Beckett to animate prose language into an imaginative stuff in its own right.

It would be a serious mistake to think of Billy Graham or any other television revivalist as a latter-day Jonathan Edwards or Charles Finney. Edwards was one of the most brilliant and creative minds ever produced by America. His contribution to aesthetic theory was almost as important as his contribution to theology. His interests were mostly academic; he spent long hours each day in his study. He did not speak to his audiences extemporaneously. He read his sermons, which were tightly knit and closely reasoned expositions of theological doctrine

Thus when the ambitious man, whose slogan was "Either Caesar or nothing", does not become Caesar, he is in despair over it. But this signifies something else, namely, that precisely because he did not become Caesar he now cannot bear to be himself. Consequently he is not in despair over the fact that he did not become Caesar, but he is in despair over himself for the fact that he did not become Caesar.

What is decisive is that with God everything is possible. . . This is indeed a generally recognized truth, which is commonly expressed in this way, but the critical decision does not come until a person is brought to his extremity, when, humanly speaking, there is no possibility. Then the question is whether he will believe that for God everything is possible...

I would like to buy about three dollars worth of gospel, please. Not too much – just enough to make me happy, but not so much that I get addicted. I don't want so much gospel that I learn to really hate covetousness and lust. I certainly don't want so much that I start to love my enemies, cherish self-denial, and contemplate missionary service in some alien culture. I want ecstasy, not repentance; I want transcendence, not transformation. I would like to be cherished by some nice, forgiving, broad-minded people, but I myself don't want to love those from different races – especially if they smell. I would like enough gospel to make my family secure and my children well behaved, but not so much that I find my ambitions redirected or my giving too greatly enlarged. I would like about three dollars worth of gospel, please.

The letter is only an aid to philosophical communication, the actual essence of which consists in arousing a particular train of thought. Someone speaking thinks and produces—someone listening reflects—and reproduces. Words are a deceptive medium for what is already though—unreliable vehicles of a particular, specific stimulus. The true teacher is a guide. If the pupil genuinely desires truth it requires only a hint to show him how to find what he is seeking. Accordingly the representation of philosophy consists purely of themes—of initial propositions—principles. It exists only for autonomous lovers of truth. The analytical exposition of the theme is only for those who are sluggish or unpracticed. The latter must learn thereby how to fly and keep themselves moving in a particular direction. Attentiveness is a centripetal force. The effective relation between that which is directed and the object of direction begins with the given direction. If we hold fast to this direction we are apodictically certain of reaching the goal that has been set. True collaboration in philosophy then is a common movement toward a beloved world—whereby we relieve each other in the most advanced outpost, a movement that demands the greatest effort against the resisting element within which we are flying.

They were angry with their Lord in behalf of their idols, they who even if they were angry with their slave on their idol's account, were to be condemned. For their slave was better than their idol: for God made their slave, the carpenter made their idol. They were so angry in their idol's behalf, that they feared not to be angry with their Lord.

My final word is for the readers. The Tearling is not an easy world, I know. Contrarian that I am, I am determined to make thins kingdom echo life, where answers to our questions are not delivered neatly in a beautiful expositional package, but must be earned, through experience and frustration, sometimes even tears (and believe me, not all of those tears are Kelsea's). Sometimes answers never come at all. To all of the readers who stuck with this story, understanding and sometimes even enjoying the fact that the Tearling is a gradually unfolding world, full of lost and often confounding history, thank you for your faith in the concept. I hope that your patience was rewarded in the end. Now let's all go and make a better world." (Afterwords of the author)

We have to grow into Scripture, like a young boy inheriting his older brother's clothes and flopping around in them, but he gradually builds out and grows up. Perhaps it's a measure of our maturity when parts of Scripture that we found odd or even repellent suddenly come up in a new light. Our sense is overtaken by a sense of the whole thing, wide, multicolored, and unspeakably powerful.

When he played that violin for us, I thought about his stories and the history he talked of, about paintings I had seen and books I had read. His violin made a smoky, mysterious sound. I heard it in the explosions of chestnuts cooking on a brazier at the edge of a river, and horses clopping across cobblestones in Siena and Florence, and also the rustle of leaves that fell on Garibaldi's troops as they marched. The violin sang 'Roma o morte,' and it wailed for the mountains of dead in an American Civil War across the sea, and for Paris glittering with the Second Empire. It rose and fell with voices reading Victor Hugo aloud by whale oil, and it sang about dynamite, about Ottomans and Englishmen falling under their horses in the Crimea, and the feet of crowds shuffling through international expositions. Above all, Stoyan's violin sang about places - places its maker had been, places the teacher of its maker had been, places its current owner would someday see, and the many, many places where he would someday perform on it.

At one point in the story, following a brazen daytime bank robbery, Electro is shown escaping from the authorities by climbing up the side of a building, as easily as Spider-Man . . . we see one observer exclaim, "Look!! That strangely-garbed man is racing up the side of the building!" A second man on the street picks up the narrative: "He's holding on to the iron beams in the building by means of electric rays—using them like a magnet!! Incredible!" There are three feelings inspired by this scene. The first is wonder as to why people rarely use the phrase "strangely-garbed" anymore. The second is nostalgia for the bygone era when pedestrians would routinely narrate events occurring in front of them, providing exposition for any casual bystander. And the third is pleasure at the realization that Electro's climbing this building is actually a physically plausible use of his powers.

INDECISION, n. The chief element of success; "for whereas," saith Sir Thomas Brewbold, "there is but one way to do nothing and divers way to do something, whereof, to a surety, only one is the right way, it followeth that he who from indecision standeth still hath not so many chances of going astray as he who pusheth forwards" --a most clear and satisfactory exposition on the matter. "Your prompt decision to attack," said Genera Grant on a certain occasion to General Gordon Granger, "was admirable; you had but five minutes to make up your mind in." "Yes, sir," answered the victorious subordinate, "it is a great thing to be know exactly what to do in an emergency. When in doubt whether to attack or retreat I never hesitate a moment --I toss us a copper." "Do you mean to say that's what you did this time?" "Yes, General; but for Heaven's sake don't reprimand me: I disobeyed the coin.

You sometimes hear people say, with a certain pride in their clerical resistance to the myth, that the nineteenth century really ended not in 1900 but in 1914. But there are different ways of measuring an epoch. 1914 has obvious qualifications; but if you wanted to defend the neater, more mythical date, you could do very well. In 1900 Nietzsche died; Freud published The Interpretation of Dreams; 1900 was the date of Husserl Logic, and of Russell's Critical Exposition of the Philosophy of Leibniz. With an exquisite sense of timing Planck published his quantum hypothesis in the very last days of the century, December 1900. Thus, within a few months, were published works which transformed or transvalued spirituality, the relation of language to knowing, and the very locus of human uncertainty, henceforth to be thought of not as an imperfection of the human apparatus but part of the nature of things, a condition of what we may know. 1900, like 1400 and 1600 and 1000, has the look of a year that ends a saeculum. The mood of fin de siècle is confronted by a harsh historical finis saeculi. There is something satisfying about it, some confirmation of the rightness of the patterns we impose. But as Focillon observed, the anxiety reflected by the fin de siècle is perpetual, and people don't wait for centuries to end before they express it. Any date can be justified on some calculation or other. And of course we have it now, the sense of an ending. It has not diminished, and is as endemic to what we call modernism as apocalyptic utopianism is to political revolution. When we live in the mood of end-dominated crisis, certain now-familiar patterns of assumption become evident. Yeats will help me to illustrate them. For Yeats, an age would end in 1927; the year passed without apocalypse, as end-years do; but this is hardly material. 'When I was writing A Vision,' he said, 'I had constantly the word "terror" impressed upon me, and once the old Stoic prophecy of earthquake, fire and flood at the end of an age, but this I did not take literally.' Yeats is certainly an apocalyptic poet, but he does not take it literally, and this, I think, is characteristic of the attitude not only of modern poets but of the modern literary public to the apocalyptic elements. All the same, like us, he believed them in some fashion, and associated apocalypse with war. At the turning point of time he filled his poems with images of decadence, and praised war because he saw in it, ignorantly we may think, the means of renewal. 'The danger is that there will be no war.... Love war because of its horror, that belief may be changed, civilization renewed.' He saw his time as a time of transition, the last moment before a new annunciation, a new gyre. There was horror to come: 'thunder of feet, tumult of images.' But out of a desolate reality would come renewal. In short, we can find in Yeats all the elements of the apocalyptic paradigm that concern us.

An individual in despair despairs over something. So it seems for a moment, but only for a moment; in the same moment the true despair or despair in its true form shows itself. In despairing over something, he really despaired over himself, and now he wants to get rid of himself. For example, when the ambitious man whose slogan is “Either Caesar or nothing” does not get to be Caesar, he despairs over it. But this also means something else: precisely because he did not get to be Caesar, he now cannot bear to be himself. Consequently he does not despair because he did not get to be Caesar but despairs over himself because he did not get to be Caesar.

So-called gnosis’ was an enormous temptation in the early Christian Church. By contrast, persecution, even the bloodiest, posed far less of a threat to the Church’s continuing purity and further development. Gnosticism had its roots in late antiquity, drew on oriental and Jewish sources, and multiplied into innumerable esoteric doctrines and sects. Then, like a vampire, the parasite took hold of the youthful bloom and vigour of Christianity. What made it so insidious was the fact that the Gnostics very often did not want to leave the Church. Instead, they claimed to be offering a superior and more authentic exposition of Holy Scripture, though, of course, this was only for the ‘superior souls’ (‘the spiritual’, ‘the pneumatic’); the common folk (‘the psychic’) were left to get on with their crude practices. It is not hard to see how this kind of compartmentalizing of the Church’s members, indeed of mankind as a whole, inevitably encouraged not only an excited craving for higher initiation, but also an almost unbounded arrogance in those who had moved from mere ‘faith’ to real, enlightened ‘knowledge’.

THE FAIR HAD A POWERFUL and lasting impact on the nation’s psyche, in ways both large and small. Walt Disney’s father, Elias, helped build the White City; Walt’s Magic Kingdom may well be a descendant. Certainly the fair made a powerful impression on the Disney family. It proved such a financial boon that when the family’s third son was born that year, Elias in gratitude wanted to name him Columbus. His wife, Flora, intervened; the baby became Roy. Walt came next, on December 5, 1901. The writer L. Frank Baum and his artist-partner William Wallace Denslow visited the fair; its grandeur informed their creation of Oz. The Japanese temple on the Wooded Island charmed Frank Lloyd Wright, and may have influenced the evolution of his “Prairie” residential designs. The fair prompted President Harrison to designate October 12 a national holiday, Columbus Day, which today serves to anchor a few thousand parades and a three-day weekend. Every carnival since 1893 has included a Midway and a Ferris Wheel, and every grocery store contains products born at the exposition. Shredded Wheat did survive. Every house has scores of incandescent bulbs powered by alternating current, both of which first proved themselves worthy of large-scale use at the fair; and nearly every town of any size has its little bit of ancient Rome, some beloved and be-columned bank, library or post office. Covered with graffiti, perhaps, or even an ill-conceived coat of paint, but underneath it all the glow of the White City persists. Even the Lincoln Memorial in Washington can trace its heritage to the fair.

Defining philosophy as “an activity, attempting by means of discussion and reasoning, to make life happy,” he believed that happiness is gained through the achievement of moral self-sufficiency (autarkeia) and freedom from disturbance (ataraxia). The main obstacles to the goal of tranquillity of mind are our unnecessary fears and desires, and the only way to eliminate these is to study natural science. The most serious disturbances of all are fear of death, including fear of punishment after death, and fear of the gods. Scientific inquiry removes fear of death by showing that the mind and spirit are material and mortal, so that they cannot live on after we die: as Epicurus neatly and logically puts it: “Death…is nothing to us: when we exist, death is not present; and when death is present, we do not exist. Consequently it does not concern either the living or the dead, since for the living it is non-existent and the dead no longer exist” (Letter to Menoeceus 125). As for fear of the gods, that disappears when scientific investigation proves that the world was formed by a fortuitous concourse of atoms, that the gods live outside the world and have no inclination or power to intervene in its affairs, and that irregular phenomena such as lightning, thunder, volcanic eruptions, and earthquakes have natural causes and are not manifestations of divine anger. Every Epicurean would have agreed with Katisha in the Mikado when she sings: But to him who’s scientific There’s nothing that’s terrific In the falling of a flight of thunderbolts! So the study of natural science is the necessary means whereby the ethical end is attained. And that is its only justification: Epicurus is not interested in scientific knowledge for its own sake, as is clear from his statement that “if we were not disturbed by our suspicions concerning celestial phenomena, and by our fear that death concerns us, and also by our failure to understand the limits of pains and desires, we should have no need of natural science” (Principal Doctrines 11). Lucretius’ attitude is precisely the same as his master’s: all the scientific information in his poem is presented with the aim of removing the disturbances, especially fear of death and fear of the gods, that prevent the attainment of tranquillity of mind. It is very important for the reader of On the Nature of Things to bear this in mind all the time, particularly since the content of the work is predominantly scientific and no systematic exposition of Epicurean ethics is provided.25 Epicurus despised philosophers who do not make it their business to improve people’s moral condition: “Vain is the word of a philosopher by whom no human suffering is cured. For just as medicine is of no use if it fails to banish the diseases of the body, so philosophy is of no use if it fails to banish the suffering of the mind” (Usener fr. 221). It is evident that he would have condemned the majority of modern philosophers and scientists.

You first taught me the great principle "Begin where you are." I had thought one had to start by summoning up what we believe about the goodness and greatness of God, by thinking about creation and redemption and "all the blessings of this life." You turned to the brook and once more splashed your burning face and hands in the little waterfall and said, "Why not begin with this?" And it worked. Apparently you have never guessed how much. That cushiony moss, that coldness and sound and dancing light were no doubt the very minor blessings compared with "the means of grace and the hope of glory." But then they were manifest. So far as they were concerned, sight had replaced faith. They were not the hope of glory, they were an exposition of the glory itself." Yet you were not - or so it seemed - telling me that "Nature," or "the beauties of Nature," manifest the glory. No such abstraction as "Nature" comes into it. I was learning the far more secret doctrine that pleasures are shafts of the glory as it strikes our sensibility. As it impinges on our will or understanding, we give it different names - goodness or truth or the like. But its flash upon our senses and mood is pleasure.

Olmsted’s greatest concern, however, was that the main, Jackson Park portion of the exposition simply was not fun. “There is too much appearance of an impatient and tired doing of sight-seeing duty. A stint to be got through before it is time to go home. The crowd has a melancholy air in this respect, and strenuous measures should be taken to overcome it.” Just as Olmsted sought to conjure an aura of mystery in his landscape, so here he urged the engineering of seemingly accidental moments of charm. The concerts and parades were helpful but were of too “stated or programmed” a nature. What Olmsted wanted were “minor incidents … of a less evidently prepared character; less formal, more apparently spontaneous and incidental.” He envisioned French horn players on the Wooded Island, their music drifting across the waters. He wanted Chinese lanterns strung from boats and bridges alike. “Why not skipping and dancing masqueraders with tambourines, such as one sees in Italy? Even lemonade peddlers would help if moving about in picturesque dresses; or cake-sellers, appearing as cooks, with flat cap, and in spotless white from top to toe?” On nights when big events in Jackson Park drew visitors away from the Midway, “could not several of the many varieties of ‘heathen,’ black, white and yellow, be cheaply hired to mingle, unobtrusively, but in full native costume, with the crowd on the Main Court?

Within the fair’s buildings visitors encountered devices and concepts new to them and to the world. They heard live music played by an orchestra in New York and transmitted to the fair by long-distance telephone. They saw the first moving pictures on Edison’s Kinetoscope, and they watched, stunned, as lightning chattered from Nikola Tesla’s body. They saw even more ungodly things—the first zipper; the first-ever all-electric kitchen, which included an automatic dishwasher; and a box purporting to contain everything a cook would need to make pancakes, under the brand name Aunt Jemima’s. They sampled a new, oddly flavored gum called Juicy Fruit, and caramel-coated popcorn called Cracker Jack. A new cereal, Shredded Wheat, seemed unlikely to succeed—“shredded doormat,” some called it—but a new beer did well, winning the exposition’s top beer award. Forever afterward, its brewer called it Pabst Blue Ribbon. Visitors also encountered the latest and arguably most important organizational invention of the century, the vertical file, created by Melvil Dewey, inventor of the Dewey Decimal System. Sprinkled among these exhibits were novelties of all kinds. A locomotive made of spooled silk. A suspension bridge built out of Kirk’s Soap. A giant map of the United States made of pickles. Prune makers sent along a full-scale knight on horseback sculpted out of prunes, and the Avery Salt Mines of Louisiana displayed a copy of the Statue of Liberty carved from a block of salt. Visitors dubbed it “Lot’s Wife.

To the primitive believers came the Psalter, like an aftermath, wet with the dews of a new birth as from the womb of the morning. The Spirit had descended upon it anew, as showers upon the mown grass; and it had sprung up afresh, sweeter than before, for the pasture of flocks. The Church received it as full of Christ, as the inheritance of a nobler and truer Israel, for which His coming had illuminated it with a genuine interpretation, painting even its darker and clouded surfaces with the bow of promise, now made the symbol of an everlasting covenant and of all promises fulfilled in Him. Hence the local and temporary meanings of the Psalms were regarded as insignificant.

-Exposition: the workings of the actual past + the virtual past may be illustrated by an event well known to collective history, such as the sinking of the Titanic. The disaster as it actually occurred descends into obscurity as its eyewitnesses die off, documents perish + the wreck of the ship dissolves in its Atlantic grave. Yet a virtual sinking of the Titanic, created from reworked memories, papers, hearsay, fiction--in short, belief--grows ever 'truer.' The actual past is brittle, ever-dimming + ever more problematic to access + reconstruct: in contrast, the virtual past is malleable, ever-brightening + ever more difficult to circumvent/expose as fraudulent. -The present presses the virtual past into its own service, to lend credence to its mythologies + legitimacy to the imposition of will. Power seeks + is the right to 'landscape' the virtual past. (He who pays the historian calls the tune.) -Symmetry demands an actual + virtualfuture, too. We imagine how next week, next year, or 2225 will shape up--a virtual future, constructed by wishes, prophecies + daydreams. This virtual future may influence the actual future, as in a self-fulfilling prophecy, but the actual future will eclipse our virtual one as surely as tomorrow eclipses today. Like Utopia, the actual future + the actual past exist only in the hazy distance, where they are no good to anyone. -Q: Is there a meaningful distinction between one simulacrum of smoke, mirrors + shadows--the actual past--from another such simulacrum--the actual future? -One model of time: an infinite matryoshka doll of painted moments, each 'shell' (the present) encased inside a nest of 'shells' (previous presents) I call the actual past but which we perceive as the virtual past. The doll of 'now' likewise encases a nest of presents yet to be, which I call the actual future but which we perceive as the virtual future. -Proposition: I am in love with Luisa Ray.

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.

The more consciousness there is in such a sufferer who in despair wills to be himself, the more his despair intensifies and becomes demonic. It usually originates as follows. A self that in despair wills to be itself is pained in some distress or other that does not allow itself to be taken away from or separated from his concrete self. So now he makes precisely this torment the object of all his passion, and finally it becomes a demonic rage. By now, even if God in heaven and all the angels offered to help him out of it- no, he does not want that, now it is too late. Once he would gladly have given everything to be rid of this agony, but he was kept waiting; now it is too late, now he would rather rage against everything and be the wronged victim of the whole world and of all life, and it is of particular significance to him to make sure that he has his torment on hand and that no one takes it away from him- for then he would not be able to demonstrate and prove to himself that he is right. This eventually becomes such a fixation that for an extremely strange reason he is afraid of eternity, afraid that it will separate him from his, demonically understood, infinite superiority over other men, his justification, demonically understood, for being what he is.

She stared at him, at his face. Simply stared as the scales fell from her eyes. "Oh, my God," she whispered, the exclamation so quiet not even he would hear. She suddenly saw-saw it all-all that she'd simply taken for granted. Men like him protected those they loved, selflessly, unswervingly, even unto death. The realization rocked her. Pieces of the jigsaw of her understanding of him fell into place. He was hanging to consciousness by a thread. She had to be sure-and his shields, his defenses were at their weakest now. Looking down at her hands, pressed over the nearly saturated pad, she hunted for the words, the right tone. Softly said, "My death, even my serious injury, would have freed you from any obligation to marry me. Society would have accepted that outcome, too." He shifted, clearly in pain. She sucked in a breath-feeling his pain as her own-then he clamped the long fingers of his right hand about her wrist, held tight. So tight she felt he was using her as an anchor to consciousness, to the world. His tone, when he spoke, was harsh. "Oh, yes-after I'd expended so much effort keeping you safe all these years, safe even from me, I was suddenly going to stand by and let you be gored by some mangy bull." He snorted, soft, low. Weakly. He drew in a slow, shallow breath, lips thin with pain, but determined, went on, "You think I'd let you get injured when finally after all these long years I at last understand that the reason you've always made me itch is because you are the only woman I actually want to marry? And you think I would stand back and let you be harmed?" A peevish frown crossed his face. "I ask you, is that likely? Is it even vaguely rational?" He went on, his words increasingly slurred, his tongue tripping over some, his voice fading. She listened, strained to catch every word as he slid into semi delirium, into rambling, disjointed sentences that she drank in, held to her heart. He gave her dreams back to her, reshaped and refined. "Not French Imperial-good, sound, English oak. You can use whatever colors you like, but no gilt-I forbid it." Eventually he ventured further than she had. "And I want at least three children-not just an heir and a spare. At least three-if you're agreeable. We'll have to have two boys, of course-my evil ugly sisters will found us to make good on that. But thereafter...as many girls as you like...as long as they look like you. Or perhaps Cordelia-she's the handsomer of the two uglies." He loved his sisters, his evil ugly sisters. Heather listened with tears in her eyes as his mind drifted and his voice gradually faded, weakened. She'd finally got her declaration, not in anything like the words she'd expected, but in a stronger, impossible-to-doubt exposition. He'd been her protector, unswerving, unflinching, always there; from a man like him, focused on a lady like her, such actions were tantamount to a declaration from the rooftops. The love she'd wanted him to admit to had been there all along, demonstrated daily right before her eyes, but she hadn't seen. Hadn't seen because she'd been focusing elsewhere, and because, conditioned as she was to resisting the same style of possessive protectiveness from her brothers, from her cousins, she hadn't appreciated his, hadn't realized that that quality had to be an expression of his feelings for her. Until now. Until now that he'd all but given his life for hers. He loved her-he'd always loved her. She saw that now, looking back down the years. He'd loved her from the time she'd fallen in love with him-the instant they'd laid eyes on each other at Michael and Caro's wedding in Hampshire four years ago. He'd held aloof, held away-held her at bay, too-believing, wrongly, that he wasn't an appropriate husband for her. In that, he'd been wrong, too. She saw it all. And as the tears overflowed and tracked down her cheeks, she knew to her soul how right he was for her. Knew, embraced, and rejoiced.