Furnishing Related Quotes

A story is not like a road to follow … it's more like a house. You go inside and stay there for a while, wandering back and forth and settling where you like and discovering how the room and corridors relate to each other, how the world outside is altered by being viewed from these windows. And you, the visitor, the reader, are altered as well by being in this enclosed space, whether it is ample and easy or full of crooked turns, or sparsely or opulently furnished. You can go back again and again, and the house, the story, always contains more than you saw the last time. It also has a sturdy sense of itself of being built out of its own necessity, not just to shelter or beguile you.

The best man, then, must legislate, and laws must be passed, but these laws will have no authority when they miss the mark, though in all other cases retaining their authority. But when the law cannot determine a point at all, or not well, should the one best man or should all decide? According to our present practice assemblies meet, sit in judgment, deliberate, and decide, and their judgments an relate to individual cases. Now any member of the assembly, taken separately, is certainly inferior to the wise man. But the state is made up of many individuals. And as a feast to which all the guests contribute is better than a banquet furnished by a single man, so a multitude is a better judge of many things than any individual.

He who despises himself, nevertheless esteems himself as a self-despiser. (Nietzsche.) A vain person is always vain about something. He overestimates the importance of some quality or exaggerates the degree to which he possesses it, but the quality has some real importance and he does possess it to some degree. The fantasy of overestimation or exaggeration makes the vain person comic, but the fact that he cannot be vain about nothing makes his vanity a venial sin, because it is always open to correction by appeal to objective fact. A proud person, on the other hand, is not proud of anything, he is proud, he exists proudly. Pride is neither comic nor venial, but the most mortal of all sins because, lacking any basis in concrete particulars, it is both incorrigible and absolute: one cannot be more or less proud, only proud or humble. Thus, if a painter tries to portray the Seven Deadly Sins, his experience will furnish him readily enough with images symbolic of Gluttony, Lust, Sloth, Anger, Avarice, and Envy, for all these are qualities of a person’s relations to others and the world, but no experience can provide an image of Pride, for the relation it qualifies is the subjective relation of a person to himself. In the seventh frame, therefore, the painter can only place, in lieu of a canvas, a mirror.

Swift is her walk, more swift her winged haste: A monstrous phantom, horrible and vast. As many plumes as raise her lofty flight, So many piercing eyes inlarge her sight; Millions of opening mouths to Fame belong, And ev'ry mouth is furnish'd with a tongue, And round with list'ning ears the flying plague is hung. She fills the peaceful universe with cries; No slumbers ever close her wakeful eyes; By day, from lofty tow'rs her head she shews, And spreads thro' trembling crowds disastrous news; With court informers haunts, and royal spies; Things done relates, not done she feigns, and mingles truth with lies. Talk is her business, and her chief delight To tell of prodigies and cause affright.

•  The child has a primary need from the very beginning of her life to be regarded and respected as the person she really is at any given time. •  When we speak here of “the person she really is at any given time,” we mean emotions, sensations, and their expression from the first day onward. •  In an atmosphere of respect and tolerance for her feelings, the child, in the phase of separation, will be able to give up symbiosis with the mother and accomplish the steps toward individuation and autonomy. •  If they are to furnish these prerequisites for the healthy development of their child, the parents themselves ought to have grown up in such an atmosphere. If they did, they will be able to assure the child the protection and well-being she needs to develop trust. •  Parents who did not experience this climate as children are themselves deprived; throughout their lives they will continue to look for what their own parents could not give them at the appropriate time—the presence of a person who is completely aware of them and takes them seriously. •  This search, of course, can never fully succeed, since it relates to a situation that belongs irrevocably to the past, namely to the time right after birth and during early childhood.

Men often have grievances against prominent and powerful persons. Historically, the grievances of the powerless against the powerful have furnished the steam for the engines of revolutions. My point is that in many of the famous medicolegal cases involving the issue of insanity, persons of relatively low social rank openly attacked their superiors. Perhaps their grievances were real and justified, and were vented on the contemporary social symbols of authority, the King and the Queen. Whether or not these grievances justified homicide is not our problem here. I merely wish to suggest that the issue of insanity may have been raised in these trials to obscure the social problems which the crimes intended to dramatize.

The notes one of my uncles (who had the same kind of curiosity in collecting family anecdotes) once put into my hands, furnished me with several particulars relating to our ancestors.

Anyhow, I had found something out about an unknown privation, and I realized how a general love or craving, before it is explicit or before it sees its object, manifests itself as boredom or some other kind of suffering. And what did I think of myself in relation to the great occasions, the more sizable being of these books? Why, I saw them, first of all. So suppose I wasn't created to read a great declaration, or to boss a palatinate, or send off a message to Avignon, and so on, I could see, so there nevertheless was a share for me in all that had happened. How much of a share? Why, I knew there were things that would never, because they could never, come of my reading. But this knowledge was not so different from the remote but ever-present death that sits in the corner of the loving bedroom; though it doesn't budge from the corner, you wouldn't stop your loving. Then neither would I stop my reading. I sat and read. I had no eye, ear, or interest for anything else--that is, for usual, second-order, oatmeal, mere-phenomenal, snarled-shoelace-carfare-laundry-ticket plainness, unspecified dismalness, unknown captivities; the life of despair-harness or the life of organization-habits which is meant to supplant accidents with calm abiding. Well, now, who can really expect the daily facts to go, toil or prisons to go, oatmeal and laundry tickets and the rest, and insist that all moments be raised to the greatest importance, demand that everyone breathe the pointy, star-furnished air at its highest difficulty, abolish all brick, vaultlike rooms, all dreariness, and live like prophets or gods? Why, everybody knows this triumphant life can only be periodic. So there's a schism about it, some saying only this triumphant life is real and others that only the daily facts are. For me there was no debate, and I made speed into the former.

Baudelaire" When I fall asleep, and even during sleep, I hear, quite distinctly, voices speaking Whole phrases, commonplace and trivial, Having no relation to my affairs. Dear Mother, is any time left to us In which to be happy? My debts are immense. My bank account is subject to the court’s judgment. I know nothing. I cannot know anything. I have lost the ability to make an effort. But now as before my love for you increases. You are always armed to stone me, always: It is true. It dates from childhood. For the first time in my long life I am almost happy. The book, almost finished, Almost seems good. It will endure, a monument To my obsessions, my hatred, my disgust. Debts and inquietude persist and weaken me. Satan glides before me, saying sweetly: “Rest for a day! You can rest and play today. Tonight you will work.” When night comes, My mind, terrified by the arrears, Bored by sadness, paralyzed by impotence, Promises: “Tomorrow: I will tomorrow.” Tomorrow the same comedy enacts itself With the same resolution, the same weakness. I am sick of this life of furnished rooms. I am sick of having colds and headaches: You know my strange life. Every day brings Its quota of wrath. You little know A poet’s life, dear Mother: I must write poems, The most fatiguing of occupations. I am sad this morning. Do not reproach me. I write from a café near the post office, Amid the click of billiard balls, the clatter of dishes, The pounding of my heart. I have been asked to write “A History of Caricature.” I have been asked to write “A History of Sculpture.” Shall I write a history Of the caricatures of the sculptures of you in my heart? Although it costs you countless agony, Although you cannot believe it necessary, And doubt that the sum is accurate, Please send me money enough for at least three weeks.

Physical laws do not furnish an explanation of the structures, they represent an explanation within the structures. They express the least integrated structures, those in which the simple relations of function to variable can be established. They are already becoming inadequate in the 'acausal' domain of modern physics.

Poetry is the perpetual endeavor to express the spirit of the thing, to pass the brute body and search the life and reason which causes it to exist;—to see that the object is always flowing away, whilst the spirit or necessity which causes it subsists. Its essential mark is that it betrays in every word instant activity of mind, shown in new uses of every fact and image, in preternatural quickness or perception of relations. All its words are poems. It is a presence of mind that gives a miraculous command of all means of uttering the thought and feeling of the moment. The poet squanders on the hour an amount of life that would more than furnish the seventy years of the man that stands next him.

Many people think that grief is privatizing, that it returns us to a solitary situation and is, in that sense, depoliticizing. But I think it furnishes a sense of political community of a complex order, and it does this first of all by bringing to the fore the relational ties that have implications for theorizing fundamental dependency and ethical responsibility.

The reciprocal relationship of epistemology and science is of noteworthy kind. They are dependent upon each other. Epistemology without contact with science becomes an empty scheme. Science without epistemology is—insofar as it is thinkable at all—primitive and muddled. However, no sooner has the epistemologist, who is seeking a clear system, fought his way through to such a system, than he is inclined to interpret the thought-content of science in the sense of his system and to reject whatever does not fit into his system. The scientist, however, cannot afford to carry his striving for epistemological systematic that far. He accepts gratefully the epistemological conceptual analysis; but the external conditions, which are set for him by the facts of experience, do not permit him to let himself be too much restricted in the construction of his conceptual world by the adherence to an epistemological system. He therefore must appear to the systematic epistemologist as a type of unscrupulous opportunist: he appears as realist insofar as he seeks to describe a world independent of the acts of perception; as idealist insofar as he looks upon the concepts and theories as free inventions of the human spirit (not logically derivable from what is empirically given); as positivist insofar as he considers his concepts and theories justified only to the extent to which they furnish a logical representation of relations among sensory experiences. He may even appear as Platonist or Pythagorean insofar as he considers the viewpoint of logical simplicity as an indispensable and effective tool of his research. (Einstein 1949, 683–684)

Little in his brief life was lost on him; there are premonitions of Nineteen Eighty-Four even in his memoir of schooldays ‘Such, Such Were the Joys’. Experiences in the colonies and the BBC can be seen to have furnished raw materials; so indeed can his reading of Evgeny Zamyatin’s We and other dystopian literature from the early days of Stalinism. But the transcendent or crystallising moment undoubtedly occurred in Spain, or at any rate in Catalonia. This was where Orwell suffered the premonitory pangs of a man living under a police regime: a police regime ruling in the name of socialism and the people. For a Westerner, at least, this epiphany was a relatively novel thing; it brushed the sleeves of many thoughtful and humane people, who barely allowed it to interrupt their preoccupation with the ‘main enemy’, fascism. But on Orwell it made a permanent impression.

The generalized theory of relativity has furnished still more remarkable results. This considers not only uniform but also accelerated motion. In particular, it is based on the impossibility of distinguishing an acceleration from the gravitation or other force which produces it. Three consequences of the theory may be mentioned of which two have been confirmed while the third is still on trial: (1) It gives a correct explanation of the residual motion of forty-three seconds of arc per century of the perihelion of Mercury. (2) It predicts the deviation which a ray of light from a star should experience on passing near a large gravitating body, the sun, namely, 1".7. On Newton's corpuscular theory this should be only half as great. As a result of the measurements of the photographs of the eclipse of 1921 the number found was much nearer to the prediction of Einstein, and was inversely proportional to the distance from the center of the sun, in further confirmation of the theory. (3) The theory predicts a displacement of the solar spectral lines, and it seems that this prediction is also verified.

A story is not like a road to follow … it's more like a house. You go inside and stay there for a while, wandering back and forth and settling where you like and discovering how the room and corridors relate to each other, how the world outside is altered by being viewed from these windows. And you, the visitor, the reader, are altered as well by being in this enclosed space, whether it is ample and easy or full of crooked turns, or sparsely or opulently furnished. You can go back again and again, and the house, the story, always contains more than you saw the last time. It also has a sturdy sense of itself of being built out of its own necessity, not just to shelter “A story is not like a road to follow … it's more like a house. You go inside and stay there for a while, wandering back and forth and settling where you like and discovering how the room and corridors relate to each other, how the world outside is altered by being viewed from these windows. And you, the visitor, the reader, are altered as well by being in this enclosed space, whether it is ample and easy or full of crooked turns....

Looking into each other's eyes and speaking together in low tones, it becomes apparent that she hopes you will walk her through her troubles and show her that male-female relations can be lovely even in loveless union. She is looking for lust fulfilled but she searches also for respect, and in this she is out of luck because you do not know her or like her very much and you do not respect yourself and so the most you can offer this girl is time out of her life and an unsatisfactory meeting of bodies and, if the fates are generous, a couple of laughs and good feelings. At any rate there will unquestionably be a divot in your hearts before dawn and Peg seems to pick up on this after thirty minutes of groping and pawing (the car interior is damp with dew) she breaks away and with great exasperation says, "What do you think you're doing?" You are smiling, because it is an utterly stupid and boring question, and you say to her, "I am sitting in an American car, trying to make out in America," a piece of poetry that arouses something in her, and you both climb into the back seat for a meeting even less satisfactory than you feared it might be. Now she is crying and you are shivering and it is time to go home and if you had a watch you would snap your wrist to look meaningfully at it but she dabs at her face and says she wants you to come upstairs and share a special-occasion bottle of very old and expensive wine and as there is no way not to do this you follow her through the dusty lobby and into the lurching, diamond-gated elevator and into her cluttered apartment to scrutinize her furnishings and unread or improperly read paperbacks, and you wonder if there is anything more depressing than the habitats of young people, young and rudderless women in particular.

The whole party rose accordingly, and under Mrs. Rushworth's guidance were shewn through a number of rooms, all lofty, and many large, and amply furnished in the taste of fifty years back, with shining floors, solid mahogany, rich damask, marble, gilding, and carving, each handsome in its way. Of pictures there were abundance, and some few good, but the larger part were family portraits, no longer anything to anybody but Mrs. Rushworth, who had been at great pains to learn all that the housekeeper could teach, and was now almost equally well qualified to shew the house. On the present occasion she addressed herself chiefly to Miss Crawford and Fanny, but there was no comparison in the willingness of their attention; for Miss Crawford, who had seen scores of great houses, and cared for none of them, had only the appearance of civilly listening, while Fanny, to whom everything was almost as interesting as it was new, attended with unaffected earnestness to all that Mrs. Rushworth could relate of the family in former times, its rise and grandeur, regal visits and loyal efforts, delighted to connect anything with history already known, or warm her imagination with scenes of the past.

But often one hears nothing when one listens for the first time to a piece of music that is at all complicated. [...] And so it is not wrong to speak of hearing a thing for the first time. If one has indeed, as one supposes, received no impression from the first hearing, the second, the third would be equally "first hearings" and there would be no reason why one should understand it any better after the tenth. Probably what is wanting, the first time, is not comprehension but memory. For our memory, relatively to the complexity of the impressions which it has to face while we are listening, is infinitesimal, as brief as the memory of a man who in his sleep thinks of a thousand things and at once forgets them, or as that of a man in his second childhood who cannot recall a minute afterwards what one has just said to him. Of these multiple impressions our memory is not capable of furnishing us with an immediate picture. But that picture gradually takes shape in the memory, and, with regard to works we have heard more than once, we are like the schoolboy who has read several times over before going to sleep a lesson which he supposed himself not to know, and finds that he can repeat it by heart next morning.

The self-consciousness that mocks all attempts at spontaneous action or enjoyment derives in the last analysis from the waning belief in the reality of the external world, which has lost its immediacy in a society pervaded by "symbolically mediated information." The more man objectifies himself in his work, the more reality takes on the appearance of illusion. As the workings of the modern economy and the modern social order become increasingly inaccessible to everyday intelligence, art and philosophy abdicate the task of explaining them to the allegedly objective sciences of society, which themselves have retreated from the effort to master reality into the classification of trivia. Reality thus presents itself, to laymen and "scientists" alike, as an impenetrable network of social relations-as "role playing," the "presentation of self in everyday life." To the performing self, the only reality is the identity he can construct out of materials furnished by advertising and mass culture, themes of popular film and fiction, and fragments torn from a vast range of cultural traditions, all of them equally contemporaneous to the contemporary mind.* In order to polish and perfect the part he has devised for himself, the new Narcissus gazes at his own reflection, not so much in admiration as in unremitting search of flaws, signs of fatigue, decay. Life becomes a work of art, while "the first art work in an artist," in Norman Mailer's pronouncement, "is the shaping of his own personality.

Middle class propagandists For propaganda to be effective, the propagandee must have a certain store of ideas and a number of conditioned reflexes. These are acquired only with a little affluence, some education, and peace of mind springing from relative security. Conversely, all propagandists come from the upper middle class whether Soviet, Nazi, Japanese, or American popagandists. The wealthy and very cultured class provides no propagandists because it is remote from the people and does not understand them well enough to influence them. The lower class does not furnish any because its members rarely have the means of educating themselves (even in the U.S.S.R.) More importantly, they cannot stand back and look at their class with the perspective needed to devise symbols for it. Thus studies show that most propagandists are recruited From the middle class.

In Marcel Proust's In Search of Lost Time, there is a passage that gets close to the core of what a literary education should be about. The passage offers a deep sense of what we can ask from a consequential book. Proust speaks with the kind of clarity that is peculiarly his about what he hopes his work will achieve. In particular, he reflects on the relation he wants to strike with his readers. "It seemed to me," he observes, "that they would not be 'my' readers but readers of their own selves, my book being merely a sort of magnifying glass like those which the optician at Combray used to offer his customers—it would be my book but with it I would furnish them the means of reading what lay inside themselves. So that I would not ask them to praise me or to censure me, but simply to tell me whether 'it really is like that.' I should ask whether the words that they read within themselves are the same as those which I have written.

As he went along, he began to discourse very learnedly, and told me the Flesh and the Spirit were too distinct Matters, which had not the least relation to each other. That all immaterial Substances (those were his very Words) such as Love, Desire, and so forth, were guided by the Spirit: But fine Houses, large Estates, Coaches, and dainty Entertainments were the Product of the Flesh. Therefore, says he, my Dear, you have two Husbands, one the Object of your Love, and to satisfy your Desire; the other the Object of your Necessity, and to furnish you with those other Conveniences. (I am sure I remember every Word, for he repeated it three Times; O he is very good whenever I desire him to repeat a thing to me three times he always doth it!) as then the Spirit is preferable, to the Flesh, so am I preferable to your other Husband, to whom I am antecedent in Time likewise. I say these things, my Dear, (said he) to satisfie your Conscience. A Fig, for my Conscience, said I, when shall I meet you again in the Garden?

Remember everything and do not miss a detail of how she receives you: if her color changes as you give her my message; if she becomes agitated or troubled when she hears my name; if she moves about on her pillows, if you happen to find her in the richly furnished antechamber of her rank; if she is standing, look at her to see if she shifts from one foot to another; if she repeats her answer two or three times; if she changes from gentle to severe, from harsh to loving; if she raises her hand to her hair to smooth it, although it is not disarranged; finally, my friend, observe all her actions and movements, because if you relate them to me just as they occurred, I shall interpret what she keeps hidden in the secret places of her heart in response to the fact of my love; for you must know, Sancho, if you do not know it already, that with lovers, the external actions and movements, revealed only when the topic of their love arises, are reliable messengers bringing the news of what transpires deep within their souls.

Gibbon and Hume, the great British historians, who were contemporaries of Franklin, express in their autobiographies the same feeling about the propriety of just self-praise. And now I speak of thanking God, I desire with all humility to acknowledge that I owe the mentioned happiness of my past life to His kind providence, which lead me to the means I used and gave them success. My belief of this induces me to hope, though I must not presume, that the same goodness will still be exercised toward me, in continuing that happiness, or enabling me to bear a fatal reverse, which I may experience as others have done; the complexion of my future fortune being known to Him only in whose power it is to bless to us even our afflictions. The notes one of my uncles (who had the same kind of curiosity in collecting family anecdotes) once put into my hands, furnished me with several particulars relating to our ancestors. From these notes I learned that the family had lived in the same village, Ecton, in Northamptonshire, [5] for three

It is thus a very useless commonplace to assert that a religion is necessary for the masses, because all political, divine, and social creeds only take root among them on the condition of always assuming the religious shape -- a shape which obviates the danger of discussion. Were it possible to induce the masses to adopt  atheism, this belief would exhibit all the intolerant ardour of a religious sentiment,  and in its exterior forms would soon become a cult. The evolution of the small  Positivist sect furnishes us a curious proof in point. What happened to the Nihilist  whose story is related by that profound thinker Dostoïewsky has quickly  happened to the Positivists. Illumined one day by the light of reason he broke the images of divinities and saints that adorned the altar of a chapel, extinguished the  candles, and, without losing a moment, replaced the destroyed objects by the works of atheistic philosophers such as Büchner and Moleschott, after which he piously relighted the candles. The object of his religious beliefs had been transformed, but can it be truthfully said that his religious sentiments had changed?

We also find *physics*, in the widest sense of the word, concerned with the explanation of phenomena in the world; but it lies already in the nature of the explanations themselves that they cannot be sufficient. *Physics* is unable to stand on its own feet, but needs a *metaphysics* on which to support itself, whatever fine airs it may assume towards the latter. For it explains phenomena by something still more unknown than are they, namely by laws of nature resting on forces of nature, one of which is also the vital force. Certainly the whole present condition of all things in the world or in nature must necessarily be capable of explanation from purely physical causes. But such an explanation―supposing one actually succeeded so far as to be able to give it―must always just as necessarily be burdened with two essential imperfections (as it were with two sore points, or like Achilles with the vulnerable heel, or the devil with the cloven foot). On account of these imperfections, everything so explained would still really remain unexplained. The first imperfection is that the *beginning* of the chain of causes and effects that explains everything, in other words, of the connected and continuous changes, can positively *never* be reached, but, just like the limits of the world in space and time, recedes incessantly and *in infinitum*. The second imperfection is that all the efficient causes from which everything is explained always rest on something wholly inexplicable, that is, on the original *qualities* of things and the *natural forces* that make their appearance in them. By virtue of such forces they produce a definite effect, e.g., weight, hardness, impact, elasticity, heat, electricity, chemical forces, and so on, and such forces remain in every given explanation like an unknown quantity, not to be eliminated at all, in an otherwise perfectly solved algebraical equation. Accordingly there is not a fragment of clay, however little its value, that is not entirely composed of inexplicable qualities. Therefore these two inevitable defects in every purely physical, i.e., causal, explanation indicate that such an explanation can be only *relatively* true, and that its whole method and nature cannot be the only, the ultimate and hence sufficient one, in other words, cannot be the method that will ever be able to lead to the satisfactory solution of the difficult riddles of things, and to the true understanding of the world and of existence; but that the *physical* explanation, in general and as such, still requires one that is *metaphysical*, which would furnish the key to all its assumptions, but for that very reason would have to follow quite a different path. The first step to this is that we should bring to distinct consciousness and firmly retain the distinction between the two, that is, the difference between *physics* and *metaphysics*. In general this difference rests on the Kantian distinction between *phenomenon* and *thing-in-itself*. Just because Kant declared the thing-in-itself to be absolutely unknowable, there was, according to him, no *metaphysics* at all, but merely immanent knowledge, in other words mere *physics*, which can always speak only of phenomena, and together with this a critique of reason which aspires to metaphysics." ―from_The World as Will and Representation_. Translated from the German by E. F. J. Payne. In Two Volumes, Volume II, pp. 172-173

The relation between technology and slavery has often been evoked by histo- rians of the ancient world. According to the current opinion, in fact, the striking lack of technological development in the Greek world was due to the ease with which the Greeks, thanks to slavery, could procure manual labor. If Greek mate- rial civilization remained at the stage of the organon, that is, of the utilization of human or animal power by means of a variety of instruments and did not have access to machines, this happened, one reads in a classic work on this argument, “because there was no need to economize on manual labor, since one had access to living machines that were abundant and inexpensive, different from both human and animal: slaves” (Schuhl, pp. 13–14). It does not interest us here to verify the correctness of this explanation, whose limits have been demonstrated by Koyré (pp. 291ff.) and which, like every explanation of that kind, could be easily reversed (one could say just as reasonably, as Aristotle does in the end, that the lack of machines rendered slavery necessary). What is decisive, rather, from the perspective of our study, is to ask ourselves if between modern technology and slavery there is not a connection more es- sential than the common productive end. Indeed, if it is clear that the machine is presented from its first appearance as the realization of the paradigm of the animate instrument of which the slave had furnished the originary model, it is all the more true that what both intend is not so much, or not only, an increase and simplification of productive labor but also, by liberating human beings from necessity, to secure them access to their most proper dimension—for the Greeks the political life, for the moderns the possibility of mastering the nature’s forces and thus their own.

What Broch understood by kitsch (and who else before him had even looked into the question with the keenness and profundity it demands?) was by no means a simple matter of degeneracy. Nor did he think of the relation between kitsch and true art as comparable to that of superstition to religion in a religious age, or of pseudo-science to science in the modern mass age. Rather, for him kitsch is art, or art at once becomes kitsch as soon as it breaks out of the controlling value system. L'art pour l'art in particular, appearing though it did in aristocratic and haughty guise and furnishing us - as Broch of course knew - with such convincing works of literature, is actually already kitsch, just as in the commercial realm the slogan "Business is business" already contains within itself the dishonesty of the unscrupulous profiteer, and just as in the First World War the obtrusive maxim "War is war" had already transformed the war into mass slaughter. There are several characteristic elements in this value philosophy of Broch's. It is not only that he defined kitsch as "evil in the value system of art." It is that he saw the criminal element and the element of radical evil as personified in the figure of the aestheticizing literary man (in which category, for instance, he placed Nero and even Hitler), and as one and the same with kitsch. Nor was this because evil revealed itself to the writer understandably first of all in his own "value system." Rather, it was because of his insight into the peculiar character of art and its enormous attraction for man. As he saw it, the real seductiveness of evil, the quality of seduction in the figure of the devil, is primarily an aesthetic phenomenon. Aesthetic in the broadest sense; the businessmen whose credo is "Business is business" and the statesmen who hold with 'War is war" are aestheticizing literati in the "value vacuum." They are aesthetes insofar as they are enchanted by the consonance of their own system, and they become murderers because they are prepared to sacrifice everything to this consonance, this "beautiful" consistency.

In 1910 Leroux had his greatest literary success with Le Fantôme de l’Opéra (The Phantom of the Opera). This is both a detective story and a dark romantic melodrama and was inspired by Leroux’s passion for and obsession with the Paris Opera House. And there is no mystery as to why he found the building so fascinating because it is one of the architectural wonders of the nineteenth century. The opulent design and the fantastically luxurious furnishings added to its glory, making it the most famous and prestigious opera house in all Europe. The structure comprises seventeen floors, including five deep and vast cellars and sub cellars beneath the building. The size of the Paris Opera House is difficult to conceive. According to an article in Scribner’s Magazine in 1879, just after it first opened to the public, the Opera House contained 2,531 doors with 7,593 keys. There were nine vast reservoirs, with two tanks holding a total of 22,222 gallons of water. At the time there were fourteen furnaces used to provide the heating, and dressing-rooms for five hundred performers. There was a stable for a dozen or so horses which were used in the more ambitious productions. In essence then the Paris Opera House was like a very small magnificent city. During a visit there, Leroux heard the legend of a bizarre figure, thought by many to be a ghost, who had lived secretly in the cavernous labyrinth of the Opera cellars and who, apparently, engineered some terrible accidents within the theatre as though he bore it a tremendous grudge. These stories whetted Leroux’s journalistic appetite. Convinced that there was some truth behind these weird tales, he investigated further and acquired a series of accounts relating to the mysterious ‘ghost’. It was then that he decided to turn these titillating titbits of theatre gossip into a novel. The building is ideal for a dark, fantastic Grand Guignol scenario. It is believed that during the construction of the Opera House it became necessary to pump underground water away from the foundation pit of the building, thus creating a huge subterranean lake which inspired Leroux to use it as one of his settings, the lair, in fact, of the Phantom. With its extraordinary maze-like structure, the various stage devices primed for magical stage effects and that remarkable subterranean lake, the Opera House is not only the ideal backdrop for this romantic fantasy but it also emerges as one of the main characters of this compelling tale. In using the real Opera House as its setting, Leroux was able to enhance the overall sense of realism in his novel.

I may ... pass for being a relatively successful man. People occasionally stare at me in the streets-that's fame. I can fairly easily earn enough to qualify for admission to the higher slopes of the Inland Revenue-that's success. Furnished with money and a little fame ... [I] may partake of trendy diversions-that's pleasure. It might happen once in a while that something I said or wrote ... represented a serious impact on our time-that's fulfillment. Yet I say to you, and I beg you to believe me, multiply these tiny triumphs by a million, add them all together, and they are nothing-less than nothing, a positive impediment-measured against one draught of that living water Christ offers to the spiritually thirsty.8

Modern commerce has deliberately robbed some of nature's foods of much of their body-building material while retaining the hunger satisfying energy factors. For example, in the production of refined white flour approximately eighty per cent or four-fifths of the phosphorus and calcium content are usually removed, together with the vitamins and minerals provided in the embryo or germ. The evidence indicates that a very important factor in the lowering of reproductive efficiency of womanhood is directly related to the removal of vitamin E in the processing of wheat. The germ of wheat is our most readily available source of that vitamin. Its role as a nutritive factor for the pituitary gland in the base of the brain, which largely controls growth and organ function, apparently is important in determining the production of mental types. Similarly the removal of vitamin B with the embryo of the wheat, together with its oxidation after processing, results in depletion of bodybuilding activators. Refined white sugar carries only negligible traces of body-building and repairing material. It satisfies hunger by providing heat and energy besides having a pleasant flavor. The heat and energy producing factors in our food that are not burned up are usually stored as fat. In the preceding chapter we have seen that approximately half of the foods provided in our modern dietaries furnish little or no body-building or repairing material and supply no vitamins. Approximately 25 per cent of the heat and energy of the American people is supplied by sugar alone which goes far in thwarting Nature's orderly processes of life. This per capita use is unfortunately on the increase

The description of Ziusudu has also great interest in furnishing us with a close parallel to the piety of Noah in the Hebrew Versions. For in the Gilgamesh Epic and in Berossus this feature of the story is completely absent. We are there given no reason why Ut-napishtim was selected by Ea, nor Xisuthros by Kronos. For all that those versions tell us, the favour of each deity might have been conferred arbitrarily, and not in recognition of, or in response to, any particular quality or action on the part of its recipient. The Sumerian Version now restores the original setting of the story and incidentally proves that, in this particular, the Hebrew Versions have not embroidered a simpler narrative for the purpose of edification, but have faithfully reproduced an original strand of the tradition.

We should not err by regarding personal satisfaction, “happiness,” as the criterion for mental health. Mental health must be judged not only by the relative harmony that prevails within the human ego, but by the requirements of a civilized people for the attainment of the highest social values. If a child is “free of neurotic symptoms” but values his freedom from fear so highly that he will never in his lifetime risk himself for an idea or a principle, then this mental health does not serve human welfare. If he is “secure” but never aspires to anything but personal security, then this security cannot be valued in itself. If he is “well adjusted to the group” but secures his adjustment through uncritical acceptance of and compliance with the ideas of others, then this adjustment does not serve a democratic society. If he “adjusts well in school” but furnishes his mind with commonplace ideas and facts and nourishes this mind with the cheap fantasies of comic books, then what civilization can value the “adjustment” of this child? The highest order of mental health must include the freedom of a man to employ his intelligence for the solution of human problems, his own and those of his society. This freedom of the intellect requires that the higher mental processes of reason and judgment should be removed as far as possible from magic, self-gratification, and egocentric motives. The education of a child toward mental health must include training of the intellect. A child’s emotional well-being is as much dependent upon the fullest use of his intellectual capacity as upon the satisfaction of basic body needs. The highest order of mental health must include a solid and integrated value system, an organization within the personality that is both conscience and ideal self, with roots so deeply imbedded in the structure of personality that it cannot be violated or corrupted. We cannot speak of mental health in a personality where such an ethical system does not exist. If we employ such loose criteria as “personal satisfaction” or “adjustment to the group” for evaluating mental health, a delinquent may conceivably achieve the highest degree of personal satisfaction in the pursuit of his own objectives, and his adjustment to the group—the delinquent group—is as nicely worked out as you could imagine. Theoretically,

According to this, the state of a quantum system is some definite but abstract thing in an equally abstract Hilbert space. The one state can, so to speak, be looked at from different points of view. A cubist painting might give you a flavour of the idea. In relativity, different coordinate systems on space-time correspond to different decompositions into space and time. In quantum mechanics, the different coordinate systems, or bases, are equally startling in their physical significance. They determine what will happen if different kinds of measurement, say of position or of momentum, are made on the system by instruments that are external to the system. The state in Hilbert space is an enigmatic gem that presents a different aspect on all the innumerable sides from which it can be examined. As Leibniz would say, it is a city multiplied in perspective. Dirac was entranced, and spoke of the 'darling transformation theory'. He knew he had seen into the structure of things. What he saw was some real but abstract thing not at all amenable to easy visualization. But the multiplication of viewpoints and the mathematical freedom it furnished delighted him.

But it has one peculiar inconvenience, it must be drawn from the nipple. Galen knew the necessity of this, since he advises those who cannot submit to it, to go like asses to asses' milk. But would not this excite those desires which ought to be forgotten? And would not this expose one to see renewed the adventure of the prince, whose history has been related by Capivaccio? He was supplied with two nurses, and their milk produced so good an effect, that he left them in a condition to furnish fresh milk after a few months, if this was needed.

People today, no longer attached to one another by any ties of caste, class, guild or family, are all too inclined to be preoccupied with their own private interests, too given to looking out for themselves alone and withdrawing into a narrow individualism where all public virtues are smothered. Despotism, rather than struggle against this tendency, makes it irresistible, because it takes away from citizens all common feeling, all common needs, all need for communication, all occasion for common action. It walls them up inside their private lives. They already tend to keep themselves apart from one another: despotism isolates them; it chills their relations; it freezes them. In these kinds of societies, where nothing is fixed, everyone is constantly tormented by the fear of falling and by the ambition to rise...The desire to enrich oneself at any price, the preference for business, the love of profit, the search for material pleasure and comfort are therefore the most widespread desires. These desires spread easily among all classes, even among those previously most distant from them, and if nothing stops theme they soon succeed in demoralizing and degrading the entire nation. But it is the very essence of despotism to favor and extend them. These debilitating passions help despotism, they occupy men’s minds and turn them away from public affairs, while making them tremble at the very idea of revolution. Despotism alone can furnish these passions with the secrecy and shadow which make greed feel at home, and let it reap its dishonest profits despite dishonor. Without despotism these passions would have been strong, with it they are all-powerful.

For Frege, an account of what it is for a purely logical power to be in act suffices to allow us to achieve a proper philosophical appreciation of what “content,” “object,” “thought,” “judgment,” and “truth,” as such, are. These notions come to be fully in place through an elucidation of that power, considered apart from our capacity to arrive at kinds of knowledge that are not purely logical in content. Our capacity for empirical judgment, when it comes into view, will come into view as a comparatively complex joint exercise of a variety of faculties, in which the logically fundamental notions that figure in its explication (“content,” “object,” thought,” “judgment,” “truth”) are still supposed to retain the specific sense originally conferred upon them in our explication of the purely logical case, while allowing for their extension to logically impure cases of thought and proposition. A certain picture of the role of reflection on the purely logical case, inthe order of explication of kinds of knowledge, is at work here—a picture that has been enormously influential on the subsequent development of analytic philosophy. On this picture, only if we are armed with a prior account of the case of purely logical thought, supplementing it as we go along, can we come to understand what empirically contentful theoretical thought (or practical thought) is. On this picture, the spatiotemporal bearing and the self-consciousness of the thinking subject do not belong to the form of thought (and hence their treatment does not belong, as Kant held, to a suitably capacious conception of philosophical logic); rather, all such further details among various species of thought are to be subsequently specified, if at all, through the introduction of further indices figuring within the content of thought. (Thoughts are simply conceived of as occurring at a time or at a person.) These consequences of the Fregean picture are not, on the whole, something for which post-Fregean analytic philosophers argue. Rather, it involves an entire philosophical picture that is simply tacitly, and largely unwittingly, assumed—a picture that is already under attack, albeit in very different ways, in both Kant and early Wittgenstein. According to this post-Fregean picture, we can furnish an account of the wider reaches of our capacity for finite theoretical cognition only by assuming the prior intelligibility of some self- standing account of how one of the ingredient capacities in empirical cognition—the capacity for logical thought—off its own bat is able to yield a delimitable sphere of truth-evaluable, object-related thoughts with judgable content, without its yet having entered into any form of co- operation with our other cognitive capacities.

The fashionable person is regarded with mingled feelings of approval and envy; we envy him as an individual, but approve him as a member of a set or group. [...] The moment we envy an object or a person, we are no longer absolutely excluded from it; some relation or other has been established — between both the same psychic content now exists — although in entirely different categories and forms of sensations. This quiet personal usurpation of the envied property contains a kind of antidote, which occasionally counter-acts the evil effects of this feeling of envy. The contents of fashion afford an especially good chance for the development of this conciliatory shade of envy, which also gives to the envied person a better conscience because of his satisfaction over his good fortune. [...] From all this we see that fashion furnishes an ideal field for individuals with dependent natures, whose self-consciousness, however, requires a certain amount of prominence, attention, and singularity.

Chloe laughed and when she entered the apartment she was surprised to find the place relatively tidy. The living area was sparsely furnished, just a couch, a TV and TV stand, a coffee table, and a lamp. Chloe knew the rest of the place would be the same. Danielle was the sort of person who lived on only the minimal amount of belongings. The exception, if she hadn’t changed since her teen years (and it seemed she hadn’t) was music and books. It made Chloe nearly feel guilty for the spacious and elaborate home she had recently purchased with Steven.

The earliest medieval logical curriculum, studied from the time of Alcuin’s On Dialectic (late 780s?) until the late tenth century, was based mainly on the accounts of logic in the encyclopedias of Cassiodorus, Isidore of Seville and Martianus Capella, together with Apuleius’s Periermenias (an account of basic Aristotelian syllogistic) and the Ten Categories, a paraphrase-commentary of Aristotle’s Categories. The last of these was written in the circle of Themistius, but attributed in the Middle Ages to Augustine. This misattribution points to one of the reasons why logic had such a large place in early medieval education: it was seen as indispensable in theological discussion, both because it provided a way of posing fundamental questions about God and his relation to his creation, and because it furnished a formidable argumentative weapon in controversy.

Peace is expensive, and so are human rights and civil liberties; they have a price, and we the peoples have not yet offered to pay it. Instead we are trying to furnish our globe with these precious ornaments the cheap way, holding our sovereignty cautiously in one fist while extending the other hand in a gesture of co-operation. In the long run this will prove the hard way, the violent way.

And when the war came on the next year, the Christian Indians were furnished with arms and ammunition to defend the islands against the enemy; and they were so faithful therein, that when any landed to solicit them to join in the war, though some were related by blood and others by marriage, yet the islanders directly brought them before the governor to attend his pleasure. And by a divine blessing on these means, though the Indians on the island were twenty to one of the English, yet they lived in peace and security through all that dreadful war on the main land.

There are great groups,—now with common history, now with common interests, now with common ancestry; more and more common experience and present interest drive back foe common blood and foe world today consists, not of races, but of the imperial commercial group of master capitalists, international and predominantly white; the national middle classes of the several nations, white, yellow, and brown, with strong blood bonds, common languages, and common history; the international laboring class of all colors; the backward, oppressed groups of nature-folk, pre­dominantly yellow, brown, and black. Two questions arise from the work and relations of these groups: how to furnish goods and services for the wants of men and how equitably and sufficiently to satisfy these wants.

It is estimated that until the late 1950s the Soviet Union exacted from the GDR, Romania and Hungary considerably more than it spent to control them. In Czechoslovakia it broke even. Bulgaria and especially Poland probably cost Moscow rather more in aid, between 1945 and 1960, than they furnished in trade and other deliveries. Such a pattern of mixed economic benefit in economic relations between metropole and colony is familiar to historians of colonialism and in this respect the relationship between the USSR and the lands to its west was conventionally ‘imperial’ (except that in the Soviet case the imperial center was actually poorer and more backward than its subjugated periphery).

Before we left Czernovitz, Father took a loan of one hundred dollars from a woman, with the proviso that, if we survived and got in touch with the relatives in the U.S., we would return her double. Agreed. We returned it to her in the Bronx, in 1947. In Dorohoi, we exchanged some dollars on the black market, bought some food and starting thinking what to do next. We found a "furnished" room for the parents, in Dorohoi. I intended to go to Bucharest and try to get in touch with the family.

... beings, likely to be left alone, need to be fortified and furnished within themselves, and educationand thought have tended more and more to regard these beings as related to absolute being ...

Kay says: "That the memory is capable of indefinite improvement, there can be no manner of doubt; but with regard to the means by which this improvement is to be effected mankind are still greatly in ignorance." Dr. Noah Porter says: "The natural as opposed to the artificial memory depends on the relations of sense and the relations of thought,—the spontaneous memory of the eye and the ear availing itself of the obvious conjunctions of objects which are furnished by space and time, and the rational memory of those higher combinations which the rational faculties superinduce upon those lower. The artificial memory proposes to substitute for the natural and necessary relations under which all objects must present and arrange themselves, an entirely new set of relations that are purely arbitrary and mechanical, which excite little or no other interest than that they are to aid us in remembering.

So they went out for a walk. They went through narrow, lightless lanes, where houses that were silent but gave out smells of fish and boiled rice stood on either side of the road. There was not a single tree in sight; no breeze and no sound but the vaguely musical humming of mosquitoes. Once, an ancient taxi wheezed past, taking a short-cut through the lane into the main road, like a comic vintage car passing through a film-set showing the Twenties into the film-set of the present, passing from black and white into colour. But why did these houses – for instance, that one with the tall, ornate iron gates and a watchman dozing on a stool, which gave the impression that the family had valuables locked away inside, or that other one with the small porch and the painted door, which gave the impression that whenever there was a feast or a wedding all the relatives would be invited, and there would be so many relatives that some of them, probably the young men and women, would be sitting bunched together on the cramped porch because there would be no more space inside, talking eloquently about something that didn’t really require eloquence, laughing uproariously at a joke that wasn’t really very funny, or this next house with an old man relaxing in his easy-chair on the verandah, fanning himself with a local Sunday newspaper, or this small, shabby house with the girl Sandeep glimpsed through a window, sitting in a bare, ill-furnished room, memorising a text by candlelight, repeating suffixes and prefixes from a Bengali grammar over and over to herself – why did these houses seem to suggest that an infinitely interesting story might be woven around them? And yet the story would never be a satisfying one, because the writer, like Sandeep, would be too caught up in jotting down the irrelevances and digressions that make up lives, and the life of a city, rather than a good story – till the reader would shout "Come to the point!" – and there would be no point, except the girl memorising the rules of grammar, the old man in the easy-chair fanning himself, and the house with the small, empty porch which was crowded, paradoxically, with many memories and possibilities. The "real" story, with its beginning, middle and conclusion, would never be told, because it did not exist.

Then came on a thaw for three or four days, with really warm weather, when everything melted; when the streams burst their bonds; when the earth became soft until it seemed to have no bottom and mud reigned supreme. It was everywhere; the roads were almost impassable and it was difficult to haul the rations to camp from the station. A detail of seventy-five was made from the Seventeenth to assist the brigade wagons back to camp. It was a cheerless task. The heavy army wagons came toiling laboriously along; many became stalled in the mud, the wheels sunken below the hubs, horses straining, the drivers cursing and lashing the poor animals, while a dozen men pushed at each wheel, all and everything covered with the liquid mire; such was December in Virginia. The Christmas of 1862 was cheerless indeed; the weather was frightful, and a heavy snowstorm covered everything a foot deep. Each soldier attempted to get a dinner in honor of the day, and those to whom boxes had been sent succeeded to a most respectable degree, but those unfortunates whose homes were outside the lines had nothing whatever delectable partaking of the nature of Christmas. Well! it would have puzzled [anyone] to furnish a holiday dinner out of a pound of fat pork, six crackers, and a quarter of a pound of dried apples. We all had apple dumplings that day, which with sorghum molasses were not to be despised. Some of the men became decidedly hilarious, and then again some did not; not because they had joined the temperance society nor because they were opposed to the use of intoxicating liquors, but because not a soul invited them to step up and partake. One mess in the Seventeenth did not get so much as a smell during the whole of the holidays; and a dry, dismal old time it proved. We read in the Richmond papers of the thousands and thousands of boxes that had been passed en route to the army, sent by the ladies of Richmond and other cities, but few found their way to us. The greater part of them were for the troops from the far South who were too distant from their homes to receive anything from their own families. The Virginians were supposed to have been cared for by their own relatives and friends; but some of them were not, as we all know.

Empirical logic achieved a signal triumph in the Old Testament, where survivals from the early proto-logical stage are very few and far between. With it man reached a point where his best judgments about his relation to God, his fellow men and the world, were in most respects not appreciably inferior to ours. In fundamental ethical and spiritual matters we have not progressed at all beyond the empirico-logical world of the Old Testament or the unrivalled fusion of proto-logical intuition, 64 [see Coomaraswamy, Review of Religion, 1942, p. 138, paragraph 3] empirico-logical wisdom and logical deduction which we find in the New Testament. In fact a very large section of modern religion, literature and art actually represents a pronounced retrogression when compared with the Old Testament. For example, astrology, spiritism and kindred divagations, which have become religion to tens of millions of Europeans and Americans, are only the outgrowth of proto-logical interpretation of nature, fed by empirico-logical data and covered with a spurious shell of Aristotelian logic and scientific induction. Plastic and graphic art has swung violently away from logical perspective and perceptual accuracy, and has plunged into primordial depths of conceptual drawing and intuitive imagery. While it cannot be denied that this swing from classical art to conceptual and impressionistic art has yielded some valuable results, it is also true that it represents a very extreme retrogression into the proto-logical past. Much of the poetry, drama and fiction which has been written during the past half-century is also a reversion from classical and logical standards of morality and beauty into primitive savagery or pathological abnormality. Some of it has reached such paralogical levels of sophistication that it has lost all power to furnish any standards at all to a generation which has deliberately tried to abandon its entire heritage from the past. All systematic attempts to discredit inherited sexual morality, to substitute dream-states for reflection, and to replace logical writing by jargon, are retreats into the jungle from which man emerged through long and painful millennia of disillusionment. With the same brains and affective reactions as those which our ancestors possessed two thousand years ago, increasing sophistication has not been able to teach us any sounder fundamental principles of life than were known at that time. . . . Unless we can continue along the pathway of personal morality and spiritual growth which was marked out for civilized man by the founders of the Judaeo-Christian tradition, more than two thousand years ago, our superior skill in modifying and even in transforming the material world about us can lead only to repeated disasters, each more terrible than its predecessor. (Archaeology and the Religion of Israel, 5th Ed. New York: Doubleday Anchor, 31-33.)

A philosopher worthy of the name has never said more than a single thing: and even then it is something he has tried to say, rather than actually said. And he has said only one thing because he has seen only one point: and at that it was not so much a vision as a contact: this contact has furnished an impulse, this impulse a movement, and if this movement, which is as it were a kind of swirling of dust taking a particular form, becomes visible to our eyes only through what it has collected along its way, it is no less true that other bits of dust might as well have been raised and that it would still have been the same whirlwind. Thus a thought which brings something new into the world is of course obliged to manifest itself through the ready-made ideas it comes across and draws into its movement; it seems thus, as it were, relative to the epoch in which the philosopher lived; but that is frequently merely an appearance. The philosopher might have come several centuries earlier; he would have had to deal with another philosophy and another science; he would have given himself other problems; he would have expressed himself by other formulas; not one chapter perhaps of the books he wrote would have been what it is; and nevertheless he would have said the same thing.

The men who projected and are pushing on this enterprise, with an executive ability that would maintain and manoeuvre an army in a campaign, are not, however, consciously philanthropists, moved by the charitable purpose of giving employment to men, or finding satisfaction in making two blades of grass grow where one grew before. They enjoy no doubt the sense of power in bringing things to pass, the feeling of leadership and the consequence derived from its recognition; but they embark in this enterprise in order that they may have the position and the luxury that increased wealth will bring, the object being, in most cases, simply material advantages—sumptuous houses, furnished with all the luxuries which are the signs of wealth, including, of course, libraries and pictures and statuary and curiosities, the most showy equipages and troops of servants; the object being that their wives shall dress magnificently, glitter in diamonds and velvets, and never need to put their feet to the ground; that they may command the best stalls in the church, the best pews in the theatre, the choicest rooms in the inn, and—a consideration that Plato does not mention, because his world was not our world—that they may impress and reduce to obsequious deference the hotel clerk. This life—for this enterprise and its objects are types of a considerable portion of life—is not without its ideal, its hero, its highest expression, its consummate flower. It is expressed in a word which I use without any sense of its personality, as the French use the word Barnum—for our crude young nation has

11 — I have explained where Wagner belongs—not in the history of music. What does he signify nevertheless in that history? The emergence of the actor in music: a capital event that invites thought, perhaps also fear. In a formula: "Wagner and Liszt."— Never yet has the integrity of musicians, their "authenticity," been put to the test so dangerously. One can grasp it with one's very hands: great success, success with the masses no longer sides with those who are authentic,—one has to be an actor to achieve that!— Victor Hugo and Richard Wagner—they both prove one and the same thing: that in declining civilizations, wherever the mob is allowed to decide, genuineness becomes superfluous, prejudicial, unfavorable. The actor, alone, can still kindle great enthusiasm.— And thus it is his golden age which is now dawning—his and that of all those who are in any way related to him. With drums and fifes, Wagner marches at the head of all artists in declamation, in display and virtuosity. He began by convincing the conductors of orchestras, the scene-shifters and stage-singers, not to forget the orchestra:—he "redeemed" them from monotony .... The movement that Wagner created has spread even to the land of knowledge: whole sciences pertaining to music are rising slowly, out of centuries of scholasticism. As an example of what I mean, let me point more particularly to Riemann's [Hugo Riemann (1849-1919): music theoretician] services to rhythmic; he was the first who called attention to the leading idea in punctuation—even for music (unfortunately he did so with a bad word; he called it "phrasing"). All these people, and I say it with gratitude, are the best, the most respectable among Wagner's admirers—they have a perfect right to honor Wagner. The same instinct unites them with one another; in him they recognize their highest type, and since he has inflamed them with his own ardor they feel themselves transformed into power, even into great power. In this quarter, if anywhere, Wagner's influence has really been beneficial. Never before has there been so much thinking, willing, and industry in this sphere. Wagner endowed all these artists with a new conscience: what they now exact and obtain from themselves, they had never extracted before Wagner's time—before then they had been too modest. Another spirit prevails on the stage since Wagner rules there: the most difficult things are expected, blame is severe, praise very scarce—the good and the excellent have become the rule. Taste is no longer necessary, nor even is a good voice. Wagner is sung only with ruined voices: this has a more "dramatic" effect. Even talent is out of the question. Expressiveness at all costs, which is what the Wagnerian ideal—the ideal of décadence—demands, is hardly compatible with talent. All that is required for this is virtue—that is to say, training, automatism, "self-denial." Neither taste, voices, nor gifts: Wagner's stage requires one thing only—Teutons! ... Definition of the Teuton: obedience and long legs ... It is full of profound significance that the arrival of Wagner coincides in time with the arrival of the "Reich": both actualities prove the very same thing: obedience and long legs.— Never has obedience been better, never has commanding. Wagnerian conductors in particular are worthy of an age that posterity will call one day, with awed respect, the classical age of war. Wagner understood how to command; in this, too, he was the great teacher. He commanded as the inexorable will to himself, as lifelong self-discipline: Wagner who furnishes perhaps the greatest example of self-violation in the history of art (—even Alfieri, who in other respects is his next-of-kin, is outdone by him. The note of a Torinese). 12 The insight that our actors are more deserving of admiration than ever does not imply that they are any less dangerous ... But who could still doubt what I want,—what are the three demands for which my my love of art has compelled me?

Thus I repudiate facility. I recommend a certain manner of thinking which courts difficulty; I value effort above everything. How could certain people have mistaken my meaning? To say nothing of the kind of person who would insist that my “intuition” was instinct or feeling. Not one line of what I have written could lend itself to such an interpretation. And in everything I have written there is assurance to the contrary: my intuition is reflection. But because I called attention to the mobility at the base of things, it has been claimed that I encouraged a sort of relaxing of the mind. And because the permanence of substance was, in my eyes, a continuity of change, it has been said that my doctrine was a justification of instability. One might just as well imagine that the bacteriologist recommends microbic diseases to us when he shows us microbes everywhere, or that the physicist prescribes the exercise of swinging when he reduces natural phenomena to oscillations. A principle of explanation is one thing, a maxim of conduct is another. One could almost say that the philosopher who finds mobility everywhere is the only one who cannot recommend it, since he sees it as inevitable, since he discovers it in what people have agreed to call immobility. But the truth is that in spite of the fact that he views stability as a complexity of change or as a particular aspect of change, in spite of the fact that in some way he resolves stability into change he will none the less, like everybody else, distinguish stability and change. And for him, as for everyone, will arise the question of knowing to what extent it is the special appearance called stability, to what extent it is change pure and simple that he must recommend to human societies. His analysis of change leaves this question intact. If he has any common sense at all, he, like everyone else, will consider necessary a permanence of what is. He will say that institutions should furnish a relatively invariable framework for the diversity and mobility of individual designs. And he will understand perhaps better than other people the role of these institutions. Do they not continue in the domain of action, in laying down imperatives, the work of stabilization that the senses and the understanding accomplish in the realm of knowledge when they condense into perception the oscillations of matter, and into concepts, the constant flow of things? No doubt, in the rigid framework of institutions, sustained by that very rigidity, society evolves.

30th. No trade yet; but our Traders came on board to-day and informed us the people had burnt four towns, so that to-morrow we expect Slaves off. “31st. Fair weather, but no trade yet; we see each night towns burning, but we hear the Sestro men are many of them killed by the inland Negroes, so that we fear this war will be unsuccessful. “The 2d of January. Last night we saw a prodigious fire break out about eleven o’clock, and this morning saw the town of Sestro burnt down to the ground, (it contained some hundred houses) so that we find their enemies are too hard for them at present; consequently our trade spoiled here, so that about seven o’clock we weighed anchor, as did also the three other vessels, to proceed lower down.” Here follows another relation taken from an original Journal of a Surgeon who sailed out of New-York, “Being on the Coast of Guinea at a place called Basalia, the Commander of the vessel, according to custom, sent a person on shore, with a present to the King, acquainting him with his arrival, and informing him they wanted a cargo of Slaves. The King promised to furnish them, and in order to do it, set out to war against his enemies; designing also to surprise some town, and take all the people prisoners: Some time after, the King sent them word, he had not yet met with the desired success, having been twice repulsed in attempting to break up two towns; but that he still hoped to procure a number of Slaves for them, and in this design persisted,