Great Dei Quotes

In the, Dei Verbum, there is a great statement of Vatican II: The bible is the word of god but in the words of men.

One great reason why the rich in general have so little sympathy for the poor is because they so seldom visit them. Hence it is that one part of the world does not know what the other suffers. Many of them do not know, because they do not care to know: they keep out of the way of knowing it – and then plead their voluntary ignorance as an excuse for their hardness of heart.

In una parola, ero troppo codardo per fare quello che sapevo essere giusto, così come ero stato troppo codardo per evitare di fare quello che sapevo sbagliato. A quel tempo, non avevo avuto nessuna esperienza del mondo e non imitavo nessuno dei suoi molti abitanti che agiscono in questo modo. Genio assolutamente naturale, scoprii questa linea di condotta tutto da solo.

Mr.Tasker worshipped pigs, and a great many of his gods, fat and lean, were always in the fields round his house. He killed his gods himself, and with great unction he would have crucified them if he could have bled them better that way and so have obtained a larger price.

In Rome on the Campo dei Fiori Baskets of olives and lemons, Cobbles spattered with wine And the wreckage of flowers. Vendors cover the trestles With rose-pink fish; Armfuls of dark grapes Heaped on peach-down. On this same square They burned Giordano Bruno. Henchmen kindled the pyre Close-pressed by the mob. Before the flames had died The taverns were full again, Baskets of olives and lemons Again on the vendors' shoulders. I thought of the Campo dei Fiori In Warsaw by the sky-carousel One clear spring evening To the strains of a carnival tune. The bright melody drowned The salvos from the ghetto wall, And couples were flying High in the cloudless sky. At times wind from the burning Would drift dark kites along And riders on the carousel Caught petals in midair. That same hot wind Blew open the skirts of the girls And the crowds were laughing On that beautiful Warsaw Sunday. Someone will read as moral That the people of Rome or Warsaw Haggle, laugh, make love As they pass by martyrs' pyres. Someone else will read Of the passing of things human, Of the oblivion Born before the flames have died. But that day I thought only Of the loneliness of the dying, Of how, when Giordano Climbed to his burning There were no words In any human tongue To be left for mankind, Mankind who live on. Already they were back at their wine Or peddled their white starfish, Baskets of olives and lemons They had shouldered to the fair, And he already distanced As if centuries had passed While they paused just a moment For his flying in the fire. Those dying here, the lonely Forgotten by the world, Our tongue becomes for them The language of an ancient planet. Until, when all is legend And many years have passed, On a great Campo dei Fiori Rage will kindle at a poet's word.

Whether it is Bach or Mozart that we hear in church, we have a sense in either case of what gloria Dei, the glory of God, means. The mystery of infinite beauty is there and enables us to experience the presence of God more truly and vividly than in many sermons. But there are already signs of danger to come. Subjective experience and passion are still held in check by the order of the musical universe, reflecting as it does the order of the divine creation itself. But there is already the threat of invasion by the virtuoso mentality, the vanity of technique, which is no longer the servant of the whole but wants to push itself to the fore. During the nineteenth century, the century of self-emancipating subjectivity, this led in many places to the obscuring of the sacred by the operatic. The dangers that had forced the Council of Trent to intervene were back again. In similar fashion, Pope Pius X tried to remove the operatic element from the liturgy and declared Gregorian chant and the great polyphony of the age of the Catholic Reformation (of which Palestrina was the outstanding representative) to be the standard for liturgical music. A clear distinction was made between liturgical music and religious music in general, just as visual art in the liturgy has to conform to different standards from those employed in religious art in general. Art in the liturgy has a very specific responsibility, and precisely as such does it serve as a wellspring of culture, which in the final analysis owes its existence to cult.

Do you dishonour his house by acts of violence more becoming the wolves of the mountains, than beings to whom the great Creator has given a form after His own likeness, and an immortal soul to be saved by penance and repentance?

Ero sempre stato trattato come se avessi insistito per nascere, in opposizione ai dettami della ragione, della religione e della morale, e contro gli argomenti più dissuasivi dei miei migliori amici.

When the ego is inflated by the Archetype of the Self, some functions of the ego are connected to the reality principle and other sectors harbor grandiose persuasions based on archetypal imagery (Imago Dei) and emotion. Typical with this type of inflation, one feels with great excess, indestructible (protected by God), absolutely justified (having God's mandate) in his or her action, and free from psychological shadow (being supremely good). We termed this type of inflation theocalypsis and will talk more about this concept later in this book.

From "The Jasmine Farm" by Elizabeth von Arnim, c 1934: "...except for a little trickle of water somewhere near, and the piping, on an oleander bush, of a solitary bird, so great a stillness surrounded her that in the whole world there might have been no one but herself. Relaxed she sat, her hands palm upwards on her lap, her mouth open because she was too tired to keep it shut. If she had known it, she was being exquisitely welcomed. The scented air, floating past her, lingered to pat her face. From a row of Madonna lilies, under the windows of the house, came fragrance, crossing the grass to greet her. Slanting shadows cooled her. The bird piped away, as if to her alone, songs of wisdom and good cheer. She was surrounded, companioned, pressed upon by beauty; and, for all she saw of it, it might have been Tottenham Court Road in a fog. 'Lift up your heart,' something whispered--'foolish woman, lift up your heart.' But of what use is it to exhort the absorbed, those who are steeped in their own particular tragedies, to do things like that? She heard the whisper, she recognised that familiar words were drifting through her mind, and all she did about it was listlessly to wonder that anybody had enough energy to lift up anything.

Daisy ha una voce indiscreta," osservai. "È piena di..." esitai. "Ha una voce piena di soldi," disse lui all'improvviso. Era così. Prima non me n'ero mai reso conto. Era piena di soldi: era quello l'inesauribile fascino che saliva e scendeva dentro, il tintinnio, il canto dei cembali... Lassù in un palazzo bianco la figlia del re, la ragazza d'oro...

Credo che la prima sera che andai a casa di Gatsby, fossi uno dei pochi ospiti a essere stato effettivamente invitato. La gente non era invitata. Saltava su delle automobili dirette a Long Island e, chissà come, finiva alla porta di Gatsby. Una volta lì era presentato da qualcuno che lo conosceva e, da quel momento, si comportava come fosse a un parco giochi. Qualche volta capitava che arrivassero e ripartissero senza neanche aver conosciuto Gatsby, giunti al party con una semplicità d'animo tale che quasi valeva essa stessa come invito scritto.

The Venetians catalogue everything, including themselves. ‘These grapes are brown,’ I complain to the young vegetable-dealer in Santa Maria Formosa. ‘What is wrong with that ? I am brown,’ he replies. ‘I am the housemaid of the painter Vedova,’ says a maid, answering the telephone. ‘I am a Jew,’ begins a cross-eyed stranger who is next in line in a bookshop. ‘Would you care to see the synagogue?’ Almost any Venetian, even a child, will abandon whatever he is doing in order to show you something. They do not merely give directions; they lead, or in some cases follow, to make sure you are still on the right way. Their great fear is that you will miss an artistic or ‘typical’ sight. A sacristan, who has already been tipped, will not let you leave until you have seen the last Palma Giovane. The ‘pope’ of the Chiesa dei Greci calls up to his housekeeper to throw his black hat out the window and settles it firmly on his broad brow so that he can lead us personally to the Archaeological Museum in the Piazza San Marco; he is afraid that, if he does not see to it, we shall miss the Greek statuary there. This is Venetian courtesy. Foreigners who have lived here a long time dismiss it with observation : ‘They have nothing else to do.’ But idleness here is alert, on the qui vive for the opportunity of sightseeing; nothing delights a born Venetian so much as a free gondola ride. When the funeral gondola, a great black-and-gold ornate hearse, draws up beside a fondamenta, it is an occasion for aesthetic pleasure. My neighbourhood was especially favoured this way, because across the campo was the Old Men’s Home. Everyone has noticed the Venetian taste in shop displays, which extends down to the poorest bargeman, who cuts his watermelons in half and shows them, pale pink, with green rims against the green side-canal, in which a pink palace with oleanders is reflected. Che bello, che magnifici, che luce, che colore! - they are all professori delle Belle Arti. And throughout the Veneto, in the old Venetian possessions, this internal tourism, this expertise, is rife. In Bassano, at the Civic Museum, I took the Mayor for the local art-critic until he interupted his discourse on the jewel-tones (‘like Murano glass’) in the Bassani pastorals to look at his watch and cry out: ‘My citizens are calling me.’ Near by, in a Paladian villa, a Venetian lasy suspired, ‘Ah, bellissima,’ on being shown a hearthstool in the shape of a life-size stuffed leather pig. Harry’s bar has a drink called a Tiziano, made of grapefruit juice and champagne and coloured pink with grenadine or bitters. ‘You ought to have a Tintoretto,’ someone remonstrated, and the proprietor regretted that he had not yet invented that drink, but he had a Bellini and a Giorgione. When the Venetians stroll out in the evening, they do not avoid the Piazza San Marco, where the tourists are, as Romans do with Doney’s on the Via Veneto. The Venetians go to look at the tourists, and the tourists look back at them. It is all for the ear and eye, this city, but primarily for the eye. Built on water, it is an endless succession of reflections and echoes, a mirroring. Contrary to popular belief, there are no back canals where tourist will not meet himself, with a camera, in the person of the another tourist crossing the little bridge. And no word can be spoken in this city that is not an echo of something said before. ‘Mais c’est aussi cher que Paris!’ exclaims a Frenchman in a restaurant, unaware that he repeats Montaigne. The complaint against foreigners, voiced by a foreigner, chimes querulously through the ages, in unison with the medieval monk who found St. Mark’s Square filled with ‘Turks, Libyans, Parthians, and other monsters of the sea’. Today it is the Germans we complain of, and no doubt they complain of the Americans, in the same words.

As a rule, in times of joy and elation, one finds God's footsteps in the majesty and grandeur of the cosmos, in its vastness and its stupendous dynamics. When man is drunk with life, when he feels that living is a dignified affair, then man beholds God in infinity. In moments of ecstasy God addresses Himself to man through the twinkling stars and the roar of the endlessly distant heavens: ברכי נפשי את ד’, ד’ אלקים, גדלת מאד, הוד והדר לבשת "O Lord my God Thou are very great, Thou are clothed with glory and majesty." In such moments, Majestas Dei, which not even the vast universe is large enough to accommodate, addresses itself to happy man. However, with the arrival of the dark night of the soul, in moments of agony and black despair, when living becomes ugly and absurd; plainly nauseating, when man loses his sense of beauty and majesty, God addresses him, not from infinity but from the infinitesimal, not from the vast stretches of the universe but from a single spot in the darkness which surrounds suffering man, from within the black despair itself... God, in those moments, appeared not as the exalted, majestic King, but rather as a humble, close friend, brother, father: in such moments of black despair, He was not far from me; He was right there in the dark room; I felt His warm hand, כביכול. on my shoulder, I hugged His knees, כביכול. He was with me in the narrow confines of a small room, taking up no space at all. God's abiding in a fenced-in finite locus manifests His humility and love for man. In such moments Humilitas Dei, which resides in the humblest and tiniest of places, addresses itself to man.

The Goal of Pleasing God by Obeying His Commands (4: 1-2)American culture is caught up with the grand goal of enjoying life and pleasing oneself. For example, a recent magazine article discussing vacation homes as investments led with the caption: "The No. 1 reason to build a vacation home is to enjoy yourself. " Today more than ever society is caught up in concern for health and personal well-being. Churches sometimes try to attract people to their services by advertising that what goes on at church will be enjoyable to them. Some churches advertise that contemporary music and coffee will be served throughout the service. One can even enjoy breakfast beforehand at a church cafeteria or be entertained by "sitcom-like" plays. Some of these things may not be bad in themselves, but the impression is that of the church attempting to attract people by dangling before them the kinds of pleasures that they can find outside the church. If a church does this too consistently, then what it may have to offer may be no different, ultimately, than what the world offers. We must not fool ourselves and think that things were radically different in the first century. A few years ago I went to Turkey (old Asia Minor) to see the ancient sites of the towns where the seven churches of Revelation were located. At Pergamum I visited the ruins of an ancient Roman health spa, where, among other things, people would go to be rejuvenated emotionally because of depression. There were even rooms where a patient could rest; in the ceiling were little holes through which the priestly attendants of the spa would whisper encouraging things to help the victims recuperate psychologically. Whether in the ancient world or today, the chief end of humanity has often been to take pleasure in this life. In contrast, our passage begins by affirming the opposite: humanity's chief goal ought to be to take pleasure in pleasing God. Such passages in Scripture as this fueled the great confession, "The chief end of man is to glorify God and to enjoy Him forever. " Granted, Christians enjoy the material pleasures of this life, but only as a gift from the gracious God whom they serve (1 Tim 4: 4). This world is not an end in itself to be enjoyed. On the basis that God has begun to work in the readers and that they are beginning to live in order to please God, Paul appeals to them to excel in this: we ask you and urge you in the Lord Jesus to do this more and more. The main point of 4: 1 is that the ultimate purpose of living as a Christian is not to please oneself but increasingly to please God (Rom 8: 8; 15: 1-6). This develops further the earlier reference to pleasing God (2: 4) and walking worthily for the goal of achieving God's glory for which they have been called (2: 12). The Greek text of 4: 1 reads "just as you received from us how it is necessary for you to walk so as to please God. " Although the NIV leaves out "it is necessary" (dei; so also Moffatt 1970 and NLT), most other translations attempt to express it, typically by "you must" or "you ought. " Some readers may understand this to mean that Christians should live in the way Paul had instructed, but if they do not they will not experience the full blessing they could otherwise. Paul's urging of them to excel, however, suggests that there is a necessity that his readers live this lifestyle and that such living is not optional for less seriously minded Christians. Indeed, this necessity is heightened by the fact that such a lifestyle is a divine commandment (4: 2), that God has called believers to this conduct (4: 7), that God has given true believers the power to fulfill this commandment (3: 12-13) and that to reject living in this manner is tantamount to rejecting God (4: 8). Consequently, it is necessary that God's true people live this way if they want to avoid the inevitable last judgment (4: 6). Paul says the basis for his appeal that they please God is grounded in the authority of the Lord Jesus

Questo sembra l’Inferno, ma non è proprio così. Siamo ancora sulla Terra. […] Allora dove credi che si trovi l’Inferno che pensi tu? […] Chi è il re dell’Inferno? Dove risiede? Che aspetto ha? E con che diritto giudica gli esseri umani? Da chi è stato costruito questo mondo chiamato Inferno, che per gli umani conta così tanto? Per quale ragione e con quale intenzione è stato creato? Chi è Dio? Ascolta, Chocolove. Esiste solo quello che può esistere. È una cosa naturale. Se nessuno ha intenzione di creare un qualcosa, allora quel qualcosa non esisterà. Questo mondo si trova all’interno del Great Spirit! […] Il Great Spirit – il luogo in cui ritornano tutti gli spiriti della Terra. […] Gli spiriti simili si richiamano e s’attirano, così da costituire una comunità. Gli animali hanno la loro comunità, e così gli esseri umani. Ogni luogo ha le sue tradizioni, le sue religioni, le sue regole. Gli spiriti rappresentano le nostre memorie, e lo spirito d’una persona in vita ha un riflesso nel mondo dei morti. Chi crede nel mondo della luce andrà verso la luce; chi invece ha l’oscurità nel cuore andrà nel mondo dell’oscurità. E la comunità dell’oscurità, dove si riuniscono gli spiriti tristi, è chiamata «Inferno». […] Gli spiriti legati a un concetto forte non riescono a vedere gli altri mondi. […] Nel Great Spirit ci sono innumerevoli comunità come questa. Ma non sono accozzaglie prive di senso. Infatti, sembra che gli spiriti d’alto livello si riuniscano nella parte alta del Great Spirit, quasi a dividere il Paradiso dall’Inferno. Per noi esseri umani è molto difficile arrivare al mondo più alto, mentre è facile cadere verso il basso. Tu devi andare verso l’alto! Dobbiamo raggiungere il punto più alto del Great Spirit! […] Ti stai pentendo dei tuoi errori. Quest’Inferno è creato dalle tue memorie, e da quelle d’altri spiriti. È il tuo mondo interiore. Anche se non ne sei consapevole, hai sempre desiderato una punizione, per poter trovare serenità. Finché ci si sente colpevoli, non si può stare tranquilli. Per questo gli esseri umani subiscono punizioni. Vogliono espiare. […] Presto sarai resuscitato. Il tuo spirito potrà tornare nel tuo corpo. Per riuscirci, però, devi ottenere il perdono – da nessun altro se non dal tuo animo. Questa è una prova! Accetta le tue colpe e diventa più forte!

Implicit in Torres's statement, and worked out in great detail by many contextual theologians is, third, an emphasis on commitment as “the first act of theology” (Torres and Fabella 1978:269)—more specifically, commitment to the poor and marginalized. The point of departure is therefore orthopraxis, not orthodoxy. Orthopraxis, says Lamb, aims at transforming human history, redeeming it through a knowledge born of subject-empowering, life-giving love, which heals the biases needlessly victimizing millions of our brothers and sisters. Vox victimarum vox Dei. The cries of the victims are the voice of God. To the extent that those cries are not heard above the din of our political, cultural, economic, social, and ecclesial celebrations or bickerings, we have already begun a descent into hell (1982:22f).

Thus, there is a hidden grandeur in the most ordinary things. St. Josemaria saw this, and he had little patience for those would-be saints with romantic inclinations who saw ordinary life as merely an obstacle to true greatness.

I genitori americani, essendo americani, sono convinti che la vita sia una corsa; prima si parte, meglio è. Un parco-giochi, in sostanza, è un’occasione preziosa per osservare la concorrenza. Se un bambino inglese viene lanciato nel mondo come un paracadutista da un aereo – che s’arrangi, in sostanza – il collega americano è una piccola formula uno. Ogni dettaglio è importante, e va curato: l’attitudine atletica, l’orgoglio, la dentatura, la scuola. La natura, in sostanza, si può migliorare. È solo questione di planning e determinazione. Uno dei modi per raggiungere il risultato è convincere il bambino che è assolutamente unico e straordinario. Occorre inculcargli self-esteem (autostima), il che significa, in sostanza, montargli la testa fin da piccolo. Se un bambino inglese apprende, tra le prime espressioni, il vocabolo please, il collega americano impara I’m great, sono grande.

In the economy of a nation, advantages and evils always balance one another (il bene ed il male economico in una nazione sempre all, istessa misura): the abundance of wealth with some people, is always equal to the want of it with others (la copia dei beni in alcuni sempre eguale alia mancanza di essi in altri): the great riches of a small number are always accompanied by the absolute privation of the first necessaries of life for many others. The wealth of a nation corresponds with its population, and its misery corresponds with its wealth. Diligence in some compels idleness in others. The poor and idle are a necessary consequence of the rich and active.

THE CHARM OF THE STONES CONSECRATED TO DIANA To find a stone with a hole in it is a special sign of the favour of Diana, He who does so shall take it in his hand and repeat the following, having observed the ceremony as enjoined: — Scongiurazione della pietra bucata. Una pietra bucata U ho trovato; Ne ringrazio il destin, E k) spirito che su questa via Mi ha portata, Che passa essere il mio bene, E la mia buona fortuna! Mi alzo la mattina al alba, E a passegio me ne vo Nelle valli, monti e campi, La fortuna cercarvo Della ruta e la verbena, Quello so porta fortuna Me lo tengo in senno chiuso £ saperlo nessuno no le deve, £ cosi cio che commendo, " La verbena far ben per me ! Benedica quella strege! Quella fata che mi segna!" Diana fu quella Che mi venne la notte in sogno E mi disse : " Se tu voir tener Le cattive persone da te lontano, Devi tenere sempre ruta con te, Sempre ruta con te e verbena!" Diana, tu che siei la regina Del cielo e della terra e dell* inferno, E siei la prottetrice degli infelici, Dei ladri, degli assassini, e anche Di donne di mali afifari se hai conosciuto, Che non sia stato V indole cattivo Delle persone, tu Diana, Diana li hai fatti tutti felici! Una altra volta ti scongiuro Che tu non abbia ne pace ne bene, Tu possa essere sempre in mezzo alle pene^ Fino che la grazia che io ti chiedo Non mi farai! THE CHARM OF THE STONES Invocation to the Holy-Stone} I have found A holy-stone upon the ground. O Fate! I thank thee for the happy find, Also the spirit who upon this road Hath given it to me; And may it prove to be for my true good And my good fortune I I rise in the morning by the earliest dawn, And I go forth to walk through (pleasant) vales. All in the mountains or the meadows fair, Seeking for luck while onward still I roam, Seeking for rue and vervain scented sweet, Because they bring good fortune unto all. I keep them safely guarded in my bosom, That none may know it—'tis a secret thing. And sacred too, and thus I speak the spell: " O vervain ! ever be a benefit, And may thy blessing be upon the witch Or on the fairy who did give thee to me ! " It was Diana who did come to me, All in the night in a dream, and said to me: " If thou would'st keep all evil folk afar, Then ever keep the vervain and the rue Safely beside thee I" I hole ii . But such a slone is IS really a claim to the ARADIA Great Diana I thou Who art the queen of heaven and of earth, And of the inferna! lands—yea, thou who art Protectress of all men unfortunate, Of thieves and murderers, and c Who lead an evil life, and yet hast known That their nature was not evil, thou, Diana, Hast still conferred on them some joy in life.' Or I may truly at another time So conjure thee that thou shalt have no peace Or happiness, for thou shalt ever be In suffering until thou grantest that Which 1 require in strictest faith from thee! [Here

Initial Contact Script Good morning__________, this is__________from__________. The reason I'm calling you today specifically is so I can stop by and tell you about our new__________ program that increases__________. I'm sure that you, like__________, are interested in__________. (Positive response). That's great__________; let's get together. How's__________? Third-Party Endorsement Script Good morning__________, this is__________ from__________. (Insert your brief commercial on your company.) The reason I'm calling you today specifically is that we've just completed working on a major project for__________, which was extremely successful in increasing__________. What I'd like to do is stop by next__________to tell you about the success I had at__________. How's__________? Follow-Up Script Good morning__________, this is__________ from__________. A number of weeks ago I contacted you, and you asked me to call you back today to set up an appointment. Would__________ be good for you? About the Author STEPHAN SCHIFFMAN is president of D.E.I.

GOD IS SO WONDERFULLY GENEROUS in his self-disclosure. He has not revealed himself to this race of rebels in some stinting way, but in nature, by his Spirit, in his Word, in great events in redemptive history, in institutions that he ordained to unveil his purposes and his nature, even in our very makeup. (We bear the imago Dei.)

Some people, in order to discover God, read books. But there is a great book: the very appearance of created things. Look above you! Look below you! Read it. God, whom you want to discover, never wrote that book with ink. Instead He set before your eyes the things that He had made. Can you ask for a louder voice than that? St. Augustine (354–430), De Civit. Dei, Book XVI

The pogroms in Mainz, Worms, and Trier were an early expression of a new, more militant Christianity. The Civitas Dei—or God State—grew out of the wave of intense pietism that swept through Europe in the Central Middle Ages. The new state’s controlling metaphor was the body: just as its various limbs fit together into an organic whole, so, too, does—or should—Christian society. Inspired by this corporatist vision, the angry sword of orthodoxy struck out at dissident minorities, such as the Albigensian heretics of southern France and the Jews. Many aspects of modern anti-Semitism date from the period of the Civitas Dei. For

Man, so puny in the quantitative order, is yet too great to be fully satisfied with anything less than the Infinite Good. Discontent with finite goods, ennui, boredom and weariness, disillusionment, represent, as it were, the constant invitation of God, whereby He would lead men to realize their true vocation and to seek complete happiness in Him. He has called us ut filii Dei nominemur et simus, and the Father does not will that His children should mistake the passing for the abiding, the partial for the complete, the wayside hut for the home. 'Thou hast made us for Thyself, O God, and our hearts can find no rest, until they rest in Thee.