Illustrations Of Famous Quotes

For economists, Argentina is a perplexing country. To illustrate how difficult it was to understand Argentina, the Nobel Prize–winning economist Simon Kuznets once famously remarked that there were four sorts of countries: developed, underdeveloped, Japan, and Argentina.

And some of the modern admirers of the gentle philosopher-emperor Marcus Aurelius would be less admiring if they reflected on the brutality of his suppression of the Germans, proudly illustrated in the scenes of battle that circle their way up his commemorative column that still stands in the centre of Rome; though less famous, it was clearly intended to rival Trajan’s and was carefully built just a little taller (see plate 10). 70.

The engineer and historian of engineering Henry Petroski presents a very elegant point. Had the Titanic not had that famous accident, as fatal as it was, we would have kept building larger and larger ocean liners and the next disaster would have been even more tragic. So the people who perished were sacrificed for the greater good; they unarguably saved more lives than were lost. The story of the Titanic illustrates the difference between gains for the system and harm to some of its individual parts.

the famous Wisdom of Cato "Buy not what you need, but what you must have. That which you do not need, is dear even at a farthing.

famous saying among policy analysts is “let me pick your options, and I will make the decision for you,” which illustrates the importance of keeping an eye out for a better option.

In the general calamities of mankind, the death of an individual, however exalted, the ruin of an edifice, however famous, are passed over with careless inattention.

Indeed, the point of the famous story about the king and the waves, as originally told, was not to illustrate his stupidity, but rather to prove what a good Christian he had been. ‘Let all the world know’, says a damp Cnut, having conspicuously failed to stop the tide from rising, ‘that the power of kings is empty and worthless, and there is no king worthy of the name save Him by whose will heaven, earth and sea obey eternal laws.’2

THEY SAY THAT the way to a man’s heart is through his stomach, which just goes to show they’re as confused about anatomy as they gen’rally are about everything else, unless they’re talking about instructions on how to stab him, in which case a better way is up and under the ribcage.

Their famous attempt to make clothing of fig leaves perfectly illustrates the utter inadequacy of every human device ever conceived to try to cover shame. Human religion, philanthropy, education, self-betterment, self-esteem, and all other attempts at human goodness ultimately fail to provide adequate camouflage for the disgrace and shame of our fallen state. All the man-made remedies combined are no more effective for removing the dishonor of our sin than our first parents' attempts to conceal their nakedness with fig leaves. That's because masking over shame doesn't really deal with the problem of guilt before God. Worst of all, a full atonement for guilt is far outside the possibility of fallen men and women to provide for themselves.

I suppose that really I had a training or education not so very different from a lot of other artists and illustrators — it’s just that I didn’t have it in the normal order. When I was at school I liked drawing, and I liked anything to do with humor, and I liked writing too. When I was about fourteen, I was lucky enough to be introduced to a man who both painted pictures and drew cartoons for newspapers and magazines, including Punch, the most famous English humorous magazine at the time. He was called Alfred Jackson and every few months I would take him a collection of my drawings to look at. Now I look back and realize these were in fact lessons or tutorials, and what was especially good about them was that he talked not only about the cartoonists’ drawings in Punch at the time, but also about Michelangelo and Modigliani as well.

Perhaps as he was lying awake then, his life may have passed before him—his early hopeful struggles, his manly successes and prosperity, his downfall in his declining years, and his present helpless condition—no chance of revenge against Fortune, which had had the better of him—neither name nor money to bequeath—a spent-out, bootless life of defeat and disappointment, and the end here! Which, I wonder, brother reader, is the better lot, to die prosperous and famous, or poor and

In Stalin’s famous words, one death is a tragedy; one million deaths is a statistic. In this case, it is not even a particularly good statistic. The very incomprehensibility of what a million horrible and violent deaths might mean, and the impossibility of producing an appropriate response, is perhaps the reason that the events following partition have yielded such a great and moving body of fictional literature and such an inadequate and flimsy factual history. What does it matter to the readers of history today whether there were 200,000 deaths, or 1 million, or 2 million? On that scale, is it possible to feel proportional revulsion, to be five times more upset at 1 million deaths than at 200,000? Few can grasp the awfulness of how it might feel to have their fathers barricaded in their houses and burnt alive, their mothers beaten and thrown off speeding trains, their daughters torn away, raped and branded, their sons held down in full view, screaming and pleading, while a mob armed with rough knives hacked off their hands and feet. All these things happened, and many more like them; not just once, but perhaps a million times. It is not possible to feel sufficient emotion to appreciate this monstrous savagery and suffering. That is the true horror of the events in the Punjab in 1947: one of the vilest episodes in the whole of history, a devastating illustration of the worst excesses to which human beings can succumb. The death toll is just a number.

In Paley's famous illustration, the adaptation of all the parts of the watch to the function, or purpose, of showing the time, is held to be evidence that the watch was specially contrived to that end; on the ground, that the only cause we know of, competent to produce such an effect as a watch which shall keep time, is a contriving intelligence adapting the means directly to that end. Suppose, however, that any one had been able to show that the watch had not been made directly by any person, but that it was the result of the modification of another watch which kept time but poorly; and that this again had proceeded from a structure which could hardly be called a watch at all—seeing that it had no figures on the dial and the hands were rudimentary; and that going back and back in time we came at last to a revolving barrel as the earliest traceable rudiment of the whole fabric. And imagine that it had been possible to show that all these changes had resulted, first, from a tendency of the structure to vary indefinitely; and secondly, from something in the surrounding world which helped all variations in the direction of an accurate time-keeper, and checked all those in other directions; then it is obvious that the force of Paley's argument would be gone. For it would be demonstrated that an apparatus thoroughly well adapted to a particular purpose might be the result of a method of trial and error worked by unintelligent agents, as well as of the direct application of the means appropriate to that end, by an intelligent agent. Now it appears to us that what we have here, for illustration's sake, supposed to be done with the watch, is exactly what the establishment of Darwin's Theory will do for the organic world. For the notion that every organism has been created as it is and launched straight at a purpose, Mr. Darwin substitutes the conception of something which may fairly be termed a method of trial and error. Organisms vary incessantly; of these variations the few meet with surrounding conditions which suit them and thrive; the many are unsuited and become extinguished.

Eliot's understanding of poetic epistemology is a version of Bradley's theory, outlined in our second chapter, that knowing involves immediate, relational, and transcendent stages or levels. The poetic mind, like the ordinary mind, has at least two types of experience: The first consists largely of feeling (falling in love, smelling the cooking, hearing the noise of the typewriter), the second largely of thought (reading Spinoza). The first type of experience is sensuous, and it is also to a great extent monistic or immediate, for it does not require mediation through the mind; it exists before intellectual analysis, before the falling apart of experience into experiencer and experienced. The second type of experience, in contrast, is intellectual (to be known at all, it must be mediated through the mind) and sharply dualistic, in that it involves a breaking down of experience into subject and object. In the mind of the ordinary person, these two types of experience are and remain disparate. In the mind of the poet, these disparate experiences are somehow transcended and amalgamated into a new whole, a whole beyond and yet including subject and object, mind and matter. Eliot illustrates his explanation of poetic epistemology by saying that John Donne did not simply feel his feelings and think his thoughts; he felt his thoughts and thought his feelings. He was able to "feel his thought as immediately as the odour of a rose." Immediately" in this famous simile is a technical term in philosophy, used with precision; it means unmediated through mind, unshattered into subject and object. Falling in love and reading Spinoza typify Eliot's own experiences in the years in which he was writing The Waste Land. These were the exciting and exhausting years in which he met Vivien Haigh-Wood and consummated a disastrous marriage, the years in which he was deeply involved in reading F. H. Bradley, the years in which he was torn between the professions of philosophy and poetry and in which he was in close and frequent contact with such brilliant and stimulating figures as Bertrand Russell and Ezra Pound, the years of the break from his family and homeland, the years in which in every area of his life he seemed to be between broken worlds. The experiences of these years constitute the material of The Waste Land. The relevant biographical details need not be reviewed here, for they are presented in the introduction to The Waste Land Facsimile. For our purposes, it is only necessary to acknowledge what Eliot himself acknowledged: the material of art is always actual life. At the same time, it should also be noted that material in itself is not art. As Eliot argued in his review of Ulysses, "in creation you are responsible for what you can do with material which you must simply accept." For Eliot, the given material included relations with and observations of women, in particular, of his bright but seemingly incurably ill wife Vivien(ne).

You bring this fast vibrational frequency to every life situation and you no longer view the world the way you did when you were in ego or group consciousness. Your message to the universe is no longer “Gimme, gimme, gimme,” but “How may I give?” And the universe’s response like a mirror is a resounding, “How may I give to you?” In this state of unity consciousness you no longer view your life circumstances as problems. You understand the magic in Rumi’s famous poem The Guest House, which illustrates poetically what I am writing about here. Problems cannot exist in our lives when we view life from the faster spiritual vibrations that Rumi posits.

Albert Einstein, considered the most influential person of the 20th century, was four years old before he could speak and seven before he could read. His parents thought he was retarded. He spoke haltingly until age nine. He was advised by a teacher to drop out of grade school: “You’ll never amount to anything, Einstein.” Isaac Newton, the scientist who invented modern-day physics, did poorly in math. Patricia Polacco, a prolific children’s author and illustrator, didn’t learn to read until she was 14. Henry Ford, who developed the famous Model-T car and started Ford Motor Company, barely made it through high school. Lucille Ball, famous comedian and star of I Love Lucy, was once dismissed from drama school for being too quiet and shy. Pablo Picasso, one of the great artists of all time, was pulled out of school at age 10 because he was doing so poorly. A tutor hired by Pablo’s father gave up on Pablo. Ludwig van Beethoven was one of the world’s great composers. His music teacher once said of him, “As a composer, he is hopeless.” Wernher von Braun, the world-renowned mathematician, flunked ninth-grade algebra. Agatha Christie, the world’s best-known mystery writer and all-time bestselling author other than William Shakespeare of any genre, struggled to learn to read because of dyslexia. Winston Churchill, famous English prime minister, failed the sixth grade.

The 'most precious object of the Western world' is now a national monument of Ireland at the very highest level. It is probably the most famous and perhaps the most emotively charged medieval book of any kind. It is the iconic symbol of Irish culture. It is included in the Memory of the World Register compiled by UNESCO. A design echoing the Book of Kells was used on the former penny coin of Ireland (1971 to 2000) and on a commemorative twenty-euro piece in 2012. One of its initials was shown on the reverse of the old Irish five-pound banknote. It has been illustrated on the country's postage stamps. Probably every Irish bar in the world has some reflexion of its script or decoration.

Things reached such a pitch that at one conference Bohr remarked of a new theory that the question was not whether it was crazy, but whether it was crazy enough. To illustrate the non-intuitive nature of the quantum world, Schrödinger offered a famous thought experiment in which a hypothetical cat was placed in a box with one atom of a radioactive substance attached to a vial of hydrocyanic acid. If the particle degraded within an hour, it would trigger a mechanism that would break the vial and poison the cat. If not, the cat would live. But we could not know which was the case, so there was no choice, scientifically, but to regard the cat as 100 per cent alive and 100 per cent dead at the same time.

Yoga has been superficially misunderstood by certain Western writers, but its critics have never been its practitioners. Among many thoughtful tributes to yoga may be mentioned one by Dr. C. G. Jung, the famous Swiss psychologist. “When a religious method recommends itself as ‘scientific,’ it can be certain of its public in the West. Yoga fulfills this expectation,” Dr. Jung writes (7). “Quite apart from the charm of the new, and the fascination of the half-understood, there is good cause for Yoga to have many adherents. It offers the possibility of controllable experience, and thus satisfies the scientific need of ‘facts,’ and besides this, by reason of its breadth and depth, its venerable age, its doctrine and method, which include every phase of life, it promises undreamed-of possibilities. “Every religious or philosophical practice means a psychological discipline, that is, a method of mental hygiene. The manifold, purely bodily procedures of Yoga (8) also mean a physiological hygiene which is superior to ordinary gymnastics and breathing exercises, inasmuch as it is not merely mechanistic and scientific, but also philosophical; in its training of the parts of the body, it unites them with the whole of the spirit, as is quite clear, for instance, in the Pranayama exercises where Prana is both the breath and the universal dynamics of the cosmos. “When the thing which the individual is doing is also a cosmic event, the effect experienced in the body (the innervation), unites with the emotion of the spirit (the universal idea), and out of this there develops a lively unity which no technique, however scientific, can produce. Yoga practice is unthinkable, and would also be ineffectual, without the concepts on which Yoga is based. It combines the bodily and the spiritual with each other in an extraordinarily complete way. “In the East, where these ideas and practices have developed, and where for several thousand years an unbroken tradition has created the necessary spiritual foundations, Yoga is, as I can readily believe, the perfect and appropriate method of fusing body and mind together so that they form a unity which is scarcely to be questioned. This unity creates a psychological disposition which makes possible intuitions that transcend consciousness.” The Western day is indeed nearing when the inner science of self- control will be found as necessary as the outer conquest of nature. This new Atomic Age will see men’s minds sobered and broadened by the now scientifically indisputable truth that matter is in reality a concentrate of energy. Finer forces of the human mind can and must liberate energies greater than those within stones and metals, lest the material atomic giant, newly unleashed, turn on the world in mindless destruction (9).

From the tip of every branch, like a fat purple fig, a wonderful future beckoned and winked. One fig was a husband and a happy home and children, and another fig was a famous poet and another fig was a brilliant professor, and another fig was Ee Gee, the amazing editor, and another fig was Europe and Africa and South America, and another fig was Constantin and Socrates and Attila and a pack of other lovers with queer names and off-beat professions, and another fig was an Olympic lady crew champion, and beyond and above these figs were many more figs I couldn’t quite make out. I saw myself sitting in the crotch of this fig-tree, starving to death, just because I couldn’t make up my mind which of the figs I would choose. I wanted each and every one of them, but choosing one meant losing all the rest, and, as I sat there, unable to decide, the figs began to wrinkle and go black, and, one by one, they plopped to the ground at my feet.

For realists, the state is the main actor and sovereignty is its distinguishing trait. The meaning of the sovereign state is inextricably bound up with the use of force. In terms of its internal dimension, to illustrate this relationship between violence and the state we need to look no further than Max Weber’s famous definition of the state as ‘the monopoly of the legitimate use of physical force within a given territory’(M. J. Smith 1986: 23).3 Within this territorial space, sovereignty means that the state has supreme authority to make and enforce laws. This is the basis of the unwritten contract between individuals and the state. According to Hobbes, for example, we trade our liberty in return for a guarantee of security. Once security has been established, civil society can begin. But in the absence of security, there can be no art, no culture, no society. The first move, then, for the realist is to organize power domestically. Only after power has been organized, can community begin.

urely, Epictetus isn’t saying that peace, leisure, travel, and learning are bad, is he? Thankfully, no. But ceaseless, ardent desire—if not bad in and of itself—is fraught with potential complications. What we desire makes us vulnerable. Whether it’s an opportunity to travel the world or to be the president or for five minutes of peace and quiet, when we pine for something, when we hope against hope, we set ourselves up for disappointment. Because fate can always intervene and then we’ll likely lose our self-control in response. As Diogenes, the famous Cynic, once said, “It is the privilege of the gods to want nothing, and of godlike men to want little.” To want nothing makes one invincible—because nothing lies outside your control. This doesn’t just go for not wanting the easy-to-criticize things like wealth or fame—the kinds of folly that we see illustrated in some of our most classic plays and fables. That green light that Gatsby strove for can represent seemingly good things too, like love or a noble cause. But it can wreck someone all the same.

The most famous illustration of what happens to those who question the orthodoxy is what befell economist Larry Summers. On January 14, 2005, Summers, then president of Harvard University, spoke to a conference on diversifying the science and engineering workforce.16 In his informal remarks, responding to the sponsors’ encouragement to speculate, he offered reasons for thinking that innate differences in men and women might account for some of the underrepresentation of women in science and engineering. He spoke undogmatically and collegially, talking about possibilities, phrasing his speculations moderately. And all hell broke loose. An MIT biologist, Nancy Hopkins, told reporters that she “felt I was going to be sick,” that “my heart was pounding and my breath was shallow,” and that she had to leave the room because otherwise “I would’ve either blacked out or thrown up.”17 Within a few days, Summers had been excoriated by the chairperson of Harvard’s sociology department, Mary C. Waters, and received a harshly critical letter from Harvard’s committee on faculty recruiting. One hundred and twenty Harvard professors endorsed the letter. Some alumnae announced that they would suspend donations.18 Summers retracted his remarks, with, in journalist Stuart Taylor Jr.’s words, “groveling, Soviet-show-trial-style apologies.

Are his letters to Diana downstairs?" She sighed. "What is it about girls and letters? My husband left me messages in soap on the bathroom mirror. Utterly impermanent.Really wonderful-" She broke off and scowled. I would have thought she looked a little embarrassed, but I didn't think embarrassment was in her repertoire. "Anyway. Most of the correspondence between the Willings is in private collections. He had their letters with him in Paris when he died. In a noble but ultimately misguided act, his attorney sent them to his neice. Who put them all in a ghastly book that she illustrated. Her son sold them to finance the publication of six even more ghastly books of poetry. I trust there is a circle of hell for terrible poets who desecrate art." "I've seen the poetry books in the library," I told her. "The ones with Edward's paintings on the covers. I couldn't bring myself to read them." "Smart girl. I suppose worse things have been done, but not many.Of course, there was that god-awful children's television show that made one of his landscapes move.They put kangaroos in it. Kangaroos. In eastern Pennsylvania." "I've seen that,too," I admitted. I'd hated it. "Hated it.Not quite as much as the still life where Tastykakes replaced one orange with a cupcake, or the portrait of Diana dressed in a Playtex sports bra, but close." "Oh,God. I try to forget about the bra." Dr. Rothaus shuddered. "Well, I suppose they do far worse to the really famous painters.Poor van Gogh. All those hearing-aid ads." "Yeah." We shared a moment of quiet respect for van Gogh's ear.

The American philosopher Richard Taylor once illustrated this mystery, famously and fetchingly, with the image of a man out for a stroll in the forest unaccountably coming upon a very large translucent sphere. Naturally, he would immediately be taken aback by the sheer strangeness of the thing, and would wonder how it should happen to be there. More to the point, he would certainly never be able to believe that it just happened to be there without any cause, or without any possibility of further explanation; the very idea would be absurd. But, adds Taylor, what that man has not noticed is that he might ask the same question equally well about any other thing in the woods too, a rock or a tree no less than this outlandish sphere, and fails to do so only because it rarely occurs to us to interrogate the ontological pedigrees of the things to which we are accustomed. What would provoke our curiosity about the sphere would be that it was so obviously out of place; but, as far as existence is concerned, everything is in a sense out of place. As Taylor goes on to say, the question would be no less intelligible or pertinent if we were to imagine the sphere either as expanded to the size of the universe or as contracted to the size of a grain of sand, either as existing from everlasting to everlasting or as existing for only a few seconds. It is the sheer unexpected “thereness” of the thing, devoid of any transparent rationale for the fact, that prompts our desire to understand it in terms not simply of its nature, but of its very existence.

One famous Japanese haiku illustrates the state that Sid managed to discover in himself. It is one that Joseph Goldstein has long used to describe the unique attentional posture of bare attention:                                          The old pond.                                          A frog jumps in.                                          Plop!2 Like so much else in Japanese art, the poem expresses the Buddhist emphasis on naked attention to the often overlooked details of everyday life. Yet, there is another level at which the poem may be read. Just as in the parable of the raft, the waters of the pond can represent the mind and the emotions. The frog jumping in becomes a thought or feeling arising in the mind or body, while “Plop!” represents the reverberations of that thought or feeling, unelaborated by the forces of reactivity. The entire poem comes to evoke the state of bare attention in its utter simplicity.

Until philosophers are kings, or the kings of this world have the spirit and power of philosophy… will this our State have a possibility of life and behold the light of day. THE REPUBLIC (BOOK 5) We can illustrate this through his famous Allegory of the Cave and his Theory of Forms. Plato believed that the world we perceive through our senses is deceptive, whereas the ideas that survive the scrutiny of rational thought are not.

As an illustration of her empathy, an English volunteer once said of her: “Whoever she’s talking to, that person becomes the most important person.” For Mother Teresa, love is only of use if it is seen in action. Her famous words are: “Do ordinary things with extraordinary love: little things like caring for the sick and the homeless, the lonely and the unwanted, washing and cleaning for them.” And, “You must give what will cost you something.” Her creed—call it her Shema—is simple: The fruit of silence is prayer. The fruit of prayer is faith. The fruit of faith is love. The fruit of love is service. The fruit of service is peace.

Poetry and Genre The hallmark of rhetoric in ancient Near Eastern literature is repetition; in poetry, this takes the form of what scholars call “parallelism.” Frequently, the first line of a verse is echoed in some way by the second line. The second line might repeat the substance of the first line with slightly different emphasis, or perhaps the second line amplifies the first line in some fashion, such as drawing a logical conclusion, illustrating or intensifying the thought. At times the point of the first line is reinforced by a contrast in the second line. Occasionally, more than two lines are parallel. Each of these features, frequently observed in Biblical psalms, is represented in songs from Egypt, Mesopotamia and Ugarit. Unlike English poetry, which often depends on rhyme for its effect, these ancient cultures attained impact on listeners and readers with creative repetition. Psalms come in several standard subgenres, each with standard formal elements. Praise psalms can be either individual or corporate. Over a third of the psalms in the Psalter are praise psalms. Corporate psalms typically begin with an imperative call to praise (e.g., “Shout for joy to the LORD” [Ps 100:1]) and describe all the good things the Lord has done. Individual praise often begins with a proclamation of intent to praise (e.g., “I will praise you, LORD” [Ps 138:1]) and declare what God has done in a particular situation in the psalmist’s life. Mesopotamian and Egyptian hymns generally focus on descriptive praise, often moving from praise to petition. Examples of the proclamation format can be seen in the Mesopotamian wisdom composition, Ludlul bel nemeqi. The title is the first line of the piece, which is translated “I will praise the lord of wisdom.” As in the individual praise psalms, this Mesopotamian worshiper of Marduk reports about a problem that he had and reports how his god brought him deliverance. Lament psalms may be personal statements of despair (e.g., Ps 22:1–21, dirges following the death of an important person (cf. David’s elegy for Saul in 2Sa 1:17–27) or communal cries in times of crisis (e.g., Ps 137). The most famous lament form from ancient Mesopotamia is the “Lament Over the Destruction of Ur,” which commemorates the capture of the city in 2004 BC by the Elamite king Kindattu. For more information on this latter category, see the article “Neo-Sumerian Laments.” In the book of Psalms, more than a third of the psalms are laments, mostly by an individual. The most common complaints concern sickness and oppression by enemies. The lament literature of Mesopotamia is comprised of a number of different subgenres described by various technical terms. Some of these subgenres overlap with Biblical categories, but most of the Mesopotamian pieces are associated with incantations (magical rites being performed to try to rid the person of the problem). Nevertheless, the petitions that accompany lament in the Bible are very similar to those found in prayers from the ancient Near East. They include requests for guidance, protection, favor, attention from the deity, deliverance from crisis, intervention, reconciliation, healing and long life. Prayers to deities preserved

Dante, as you might know, had originally titled his book The Comedy of Dante Alighieri, A Florentine by birth but not in character. The title Divine Comedy only came later, when the book became regarded as a masterpiece. It’s a work that can be approached in a thousand different ways, and over the centuries it has been,” he said, his voice gaining strength once he was on firm and familiar ground. “But what we’re going to focus on today is the use of natural imagery in the poem. And this Florentine edition which was recently donated to the Newberry collection—and which I think most of you have now seen in the central display case—is a particularly good way to do that.” He touched a button on the lectern’s electronic panel and the first image—an etching of a deep forest, with a lone figure, head bent, entering a narrow path—appeared on the screen. “ ‘In the middle of the journey of our life,’ ” he recited from memory, “ ‘I came to myself in a dark wood where the straight way was lost.’ ” Looking up, he said, “With the possible exception of ‘Jack and Jill went up the hill,’ there is probably no line of poetry more famous and easily identifiable than that. And you will notice that right here, at the very start of the epic that is to follow, we have a glimpse of the natural world that is both realistic—Dante spends a terrible night in that wood—and metaphorical.” Turning to the etching, he elaborated on several of its most salient features, including the animals that animated its border—a leopard with a spotted coat, a lion, and a skulking wolf with distended jaws. “Confronted by these creatures, Dante pretty much turns tail and runs, until he bumps into a figure—who turns out of course to be the Roman poet Virgil—who offers to guide him ‘through an eternal place where thou shalt hear the hopeless shrieks, shalt see the ancient spirits in pain so that each calls for a second death.’ ” A new image flashed on the screen, of a wide river—Acheron with mobs of the dead huddled on its shores, and a shrouded Charon in the foreground, pointing with one bony finger at a long boat. It was a particularly well-done image and David noted several heads nodding with interest and a low hum of comments. He had thought there might be. This edition of the Divine Comedy was one of the most powerful he had ever seen, and he was making it his mission to find out who the illustrator had been. The title pages of the book had sustained such significant water and smoke damage that no names could be discerned. The book had also had to be intensively treated for mold, and many of the plates bore ineradicable green and blue spots the circumference of a pencil eraser.

Several Top Secret recommendations were made by Dr. Aurelio Peccei of the  Club of Rome. He advocated that a plague be introduced that would have same effect as the famous Black Death of history. The chief recommendation was to develop a microbe which would attack the autoimmune system and thus render the development of a vaccine impossible.

One of the most overlooked aspects of excellence is how much work it takes. Fame can come easily and overnight, but excellence is almost always accompanied by a crushing workload, pursued with single-minded intensity. Strenuous effort over long periods of time is a repetitive theme in the biographies of the giants, sometimes taking on mythic proportions (Michelangelo painting the ceiling of the Sistine Chapel). Even the most famous supposed exception, Mozart, illustrates the rule. He was one of the lighter spirits among the giants, but his reputation for composing effortlessly was overstated—Mozart himself complained on more than one occasion that it wasn’t as easy as it looked1—and his devotion to his work was as single-minded as Beethoven’s, who struggled with his compositions more visibly. Consider the summer of 1788. Mozart was living in a city that experienced bread riots that summer and in a country that was mobilizing for war. He was financially desperate, forced to pawn his belongings to move to cheaper rooms. He even tried to sell the pawnbroker’s tickets to get more loans. Most devastating of all, his beloved six-month old daughter died in June. And yet in June, July, and August, he completed two piano trios, a piano sonata, a violin sonata, and three symphonies, two of them among his most famous.2 It could not have been done except by someone who, as Mozart himself once put it, is “soaked in music,…immersed in it all day long.”3 Psychologists have put specific dimensions to this aspect of accomplishment. One thread of this literature, inaugurated in the early 1970s by Herbert Simon, argues that expertise in a subject requires a person to assimilate about 50,000 “chunks” of information about the subject over about 10 years of experience—simple expertise, not the mastery that is associated with great accomplishment.4 Once expertise is achieved, it is followed by thousands of hours of practice, study, labor.5 Nor is all of this work productive. What we see of the significant figures’ work is typically shadowed by an immense amount of wasted effort—most successful creators produce clunkers, sometimes far more clunkers than gems.6

Don't wait to be rich or famous to change the planet, you're doing it now.

The individual most responsible for the triumph of the documentary style was probably Roy Stryker of the government’s Farm Security Administration (FSA), who sent a platoon of famous photographers out to record the lives of impoverished farmers and thus “introduce America to Americans.” Stryker was the son of a Kansas Populist, and, according to a recent study of his work, “agrarian populism” was the “first basic assumption” of the distinctive FSA style. Other agencies pursued the same aesthetic goal from different directions. Federal workers transcribed folklore, interviewed surviving ex-slaves, and recorded the music of the common man. Federally employed artists painted murals illustrating local legends and the daily work of ordinary people on the walls of public buildings. Unknowns contributed to this work, and great artists did too—Thomas Hart Benton, for example, painted a mural that was actually titled A Social History of the State of Missouri in the capitol building in Jefferson City.16 There was a mania for documentary books, photos of ordinary people in their homes and workplaces that were collected and narrated by some renowned prose stylist. James Agee wrote the most enduring of these, Let Us Now Praise Famous Men, in cooperation with photographer Walker Evans, but there were many others. The novelist Erskine Caldwell and the photographer Margaret Bourke-White published You Have Seen Their Faces in 1937, while Richard Wright, fresh from the success of his novel Native Son, published Twelve Million Black Voices in 1941, with depictions of African American life chosen from the populist photographic output of the FSA.

GENERAL PHILIP H. SHERIDAN, THIS BOOK IS MOST RESPECTFULLY DEDICATED BY THE AUTHOR.   [Illustration: Yours Sincerely, W. F. Cody]   A Digireads.com Publication

One of the most famous figures to illustrate this skill is the mathematician Abraham Wald (Mangel and Samaniego 1984). During World War II, he was asked to help the Royal Air Force find the areas on their planes that were most often hit by bullets so they could cover them with more armour. But instead of counting the bullet holes on the returned planes, he recommended armouring the spots where none of the planes had taken any hits. The RAF forgot to take into account what was not there to see: All the planes that didn’t make it back. The RAF fell for a common error in thinking called survivorship bias (Taleb 2005).

The minute I dropped out I could stop taking the required classes that didn’t interest me, and begin dropping in on the ones that looked interesting. It wasn’t all romantic. I didn’t have a dorm room, so I slept on the floor in friends’ rooms, I returned coke bottles for the 5¢ deposits to buy food with, and I would walk the seven miles across town every Sunday night to get one good meal a week at the Hare Krishna temple. I loved it. And much of what I stumbled into by following my curiosity and intuition turned out to be priceless later on. Let me give you one example: Reed College at that time offered perhaps the best calligraphy instruction in the country. Throughout the campus every poster, every label on every drawer, was beautifully hand calligraphed. Because I had dropped out and didn’t have to take the normal classes, I decided to take a calligraphy class to learn how to do this. I learned about serif and san serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can’t capture, and I found it fascinating. None of this had even a hope of any practical application in my life. But ten years later, when we were designing the first Macintosh computer, it all came back to me. And we designed it all into the Mac. It was the first computer with beautiful typography. If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts. And since Windows just copied the Mac, it’s likely that no personal computer would have them. If I had never dropped out, I would have never dropped in on this calligraphy class, and personal computers might not have the wonderful typography that they do. Of course it was impossible to connect the dots looking forward when I was in college. But it was very, very clear looking backwards ten years later. Again, you can’t connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in something—your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life. The narrator of this story is Steve Jobs, the legendary CEO of Apple. The story was part of his famous Stanford commencement speech in 2005.[23] It’s a perfect illustration of how passion and purpose drive success, not the crossing of an imaginary finish line in the future. Forget the finish line. It doesn’t exist. Instead, look for passion and purpose directly in front of you. The dots will connect later, I promise—and so does Steve.

The 'Amboyna Massacre' of 1623 is perhaps the most famous illustration of this point. The Dutch and English East India companies were then competing for the spice trade of the East Indies; neither was satisfied with the division of the spoils set out in a trade treaty between the United Provinces and England of 1619, and in retaliation for an English attack on the Dutch 'Factory' on Jakarta, the Dutch at Amboyna on the Molucca Islands turned on the English Factory there – the ten English factors (i.e. traders) who survived the initial attack, and their nine Japanese assistants, were subsequently tortured to death. 6

Through the decade of the 1880s and into the early 1890s, Tolstoy and Fedorov met many times, and Tolstoy frequently refers to him in his letters and notebooks. For Tolstoy these were years of spiritual unrest. Never a complacent person unaware of his own self-development, Tolstoy in the late 1870S and early 1880s was passing through a stage of especially intense spiritual torment and particularly ruthless self-examination. His earlier religious faith, never terribly strong, had collapsed utterly, and he was seeking a new faith to live by. That he could not live a life strictly consistent with his deeply felt (and widely publicized) principles had always troubled him, and now tormented him. He had turned against the ideal of family life that he had so memorably depicted in War and Peace, but he still lived as-and at times very much enjoyed being-a family man. Theoretically he had turned against his own social class and against all art that did not illustrate some simple moral truth-and yet his biographers give us a charming picture of Tolstoy at age fifty and his old aesthetic and ideological enemy Turgenev, age sixty, sitting at opposite ends of a child's teeter-totter, seesawing up and down as children from the neighborhood laugh and applaud. Even during his famous "peasant" phase, in which he allowed himself to be portrayed by the artist Repin à la moujik behind a plow, we learn from his wife's diary that under his peasant smock he always wore silk underwear.

In the Victorian times there was much demand for Christmas books, which would make an ideal gift, as well provide amusing entertainment over the holiday period. Without a doubt the most famous of these is Dickens’ A Christmas Carol, published in 1843, but he was by no means the only popular writer of such books. Published in 1847, Thackeray’s first Christmas book, Mrs Perkins’s Ball, is a humorous portrait of a seasonal social gathering, with a broad panorama of guests, from the hilarious sot Mulligan to the prissy middle-class characters he upsets. However, it is Thackeray’s ability as an illustrator that is the most impressive in this novella.

The following two chapters are taken from Dickens’ first novel The Pickwick Papers, concerning the Pickwickians famous visit to Dingley Dell to celebrate Christmas with their friend Mr. Wardle and to attend his daughter’s wedding. The second chapter includes the seasonal story Mr. Wardle tells the company on Christmas Eve. The tale of Gabriel Grub and the goblins is a clear precursor of Scrooge in A Christmas Carol, which would be published several years later.

The Testament of Solomon, a work from the third century AD, further illustrates the widespread belief in apotropaic magic. This is a pseudepigraphical work (one that falsely claims to have been written by a famous person of the Old Testament) attributed to Solomon.

At the very beginning of the poetic argument, we entered the world of Job’s inner torment through the great death wish poem that takes up all of Chapter 3. These first thirty seven lines of God’s response to Job constitute a brilliantly pointed reversal, in structure, image, and theme, of that initial poem of Job’s. Perhaps the best way to sense the special weight of disputation over theodicy is to observe that it is cast in the form of a clash between two modes of poetry, one kind spoken by man and, however memorable, appropriate to the limitations of his creaturely condition, the other kind of verse a poet of genius could persuasively imagine God speaking…. Perhaps the finest illustration of this nice match of meaning and imagery between the two poems is the beautiful counterbalance between the most haunting of Job’s lines wishing for darkness and the most exquisite of God’s lines affirming light. Job, one recalls, tried to conjure up an eternal starless night: “Let its twilight stars go dark, / let it hope for light in vain, / and let it not see the eyelids of the dawn” (3:9). God, near the beginning of His first discourse, evokes the moment when creation was completed in an image that has become justly famous in its own right but that is also, it should be observed, a counterimage to 3:9: “When the morning stars sang together, / and all the sons of God shouted for joy” (verse 7). That is, instead of a night with no twilight stars, with no glimmer of dawn, the morning stars of creation exult. The emphasis in this line on song and shouts of joy also takes us back to the poem of Chapter 3, which began with a triumphant cry on the night of conception—a cry Job wanted to wish away—and proceeded to a prayer that no joyous exclamation come into that night (3:7).

One of the most famous figures to illustrate this skill is the mathematician Abraham Wald (Mangel and Samaniego 1984). During World War II, he was asked to help the Royal Air Force find the areas on their planes that were most often hit by bullets so they could cover them with more armour. But instead of counting the bullet holes on the returned planes, he recommended armouring the spots where none of the planes had taken any hits. The RAF forgot to take into account what was not there to see: All the planes that didn’t make it back. The RAF fell for a common error in thinking called survivorship bias (Taleb 2005). The other planes didn’t make it back because they were hit where they should have had extra protection, like the fuel tank. The returning planes could only show what was less relevant.

The superstitions of today are the scientific facts of tomorrow.

Some New Testament writers, such as the author of Hebrews, used Platonic concepts to illustrate parallels and correspondences between the spiritual and physical worlds (Heb. 1: 1–4; 9: 1–14). The book’s famous definition of Christian faith is primarily a confession of Platonic belief in the reality of the invisible realm (Heb. 11: 1–2).

Other than Christie Pearce, who was on the 1999 World Cup team as a depth piece, none of the players had experienced anything like what they saw when they returned from Germany. The team surged back into the American mainstream practically overnight. Hope Solo, a breakout star, appeared on the cover of Sports Illustrated and was asked to compete on ABC’s Dancing with the Stars. Everyone on the team was more famous than they had ever been. At one point in New York City as the players looked out from their bus onto the crowd of fans who had gathered to catch a glimpse of the team, a scream came from Abby Wambach. “Fuck!” she shouted. Those around her—startled and worried that something bad had just happened—turned to her and asked her what was wrong. Wambach, with resignation in her voice, responded: “We didn’t win.” It hit Wambach like a ton of bricks. She saw the response the team had gotten—a massive surge of fan support—and she saw the missed opportunity. If the national team had actually won the World Cup, how much bigger could it have been for the sport?

It was the perfect illustration of the strategy famously described in Thomas Frank’s book What’s the Matter with Kansas? in which Republicans would mobilize voters with social issues, but invariably turn postelection to serving the interests of corporations and the 1 percent.

Crucially, most of the existing Harrah’s debt did not have to be refinanced. Because it was not secured by any collateral, suddenly Harrah’s could issue senior debt backed by the company’s assets. It would do so in the LBO deal, pushing $4.5 billion of existing debt to the bottom of the totem pole in a $25 billion debt stack. This was cruel. Those existing unsecured bonds crashed in price as they were last in line to be repaid. But the maneuver allowed Apollo and TPG to issue new debt more cheaply. And it illustrated one of the key legal principles that would echo through this case: Debtholders’ relationship with the company remains strictly contractual. Any rights they have must be bargained for and embedded in documents. The management and board of a company, in contrast, have fiduciary duties which dictate that they maximize shareholder value.

Fire in the Blood (Chaleur du sang), which was begun during the boiling summer of 1941, would amount to an illustration of a famous saying of Proust’s: “We do not receive wisdom, we must discover it for ourselves, after a journey through the wilderness which no one else can make for us, which no one can spare us, for our wisdom is the point of view from which we come at last to regard the world.”13

Art depicting the Pythia as a young, naked woman Chapter 4: Prophetic Inspiration and Oracular Response The ruins at Delphi An illustration depicting the Pythia “There are two ways opposite to each other, one leading to the house of freedom, the other to the house of slavery. Lead the people on the road that goes through courage and harmony; avoid that which leads through strife and ruin.

Each of us is just a small fragment of a larger picture, whether we admit it or not. Today there are many famous drag performers, but it's not the first time queer art has been visible.

famous for its illustrated manuscripts. It helped that Northumbria was outstandingly rich in cattle:

The fall of Circuit City and another famous failure, the hedge fund Long-Term Capital Management, illustrate why business, when practised in the absence of wealth secrets, produces fire sales more often than fortunes.

For an illustration of business drift, rational and opportunistic business drift, take the following. Coca-Cola began as a pharmaceutical product. Tiffany & Co., the fancy jewelry store company, started life as a stationery store. The last two examples are close, perhaps, but consider next: Raytheon, which made the first missile guidance system, was a refrigerator maker (one of the founders was no other than Vannevar Bush, who conceived the teleological linear model of science we saw earlier; go figure). Now, worse: Nokia, who used to be the top mobile phone maker, began as a paper mill (at some stage they were into rubber shoes). DuPont, now famous for Teflon nonstick cooking pans, Corian countertops, and the durable fabric Kevlar, actually started out as an explosives company. Avon, the cosmetics company, started out in door-to-door book sales. And, the strangest of all, Oneida Silversmiths was a community religious cult but for regulatory reasons they needed to use as cover a joint stock company.

Though I have not found sufficient reason, or what appeared to me sufficient, for making any material change in my theory, I have found it necessary in many places to explain, illustrate, and enforce it.

Daniel Kahneman used the famous Müller-Lyer illusion to illustrate this.

LSD profoundly alters cognitive unity. Many people feel that the separation between the self and world dissolves when on LSD, and they begin to feel at one with everything. Conscious experience as a unified whole also breaks down on LSD, especially during the acute phase at high doses, so that perceptions that originate from inside are difficult to disentangle from those originating from outside. Experience itself becomes like movie frames slowed down so that each frame is perceivable. We know now that there are neurobiological reasons for this; hallucinogens have profound effects on global brain activity. Psilocybin, for example, decreases the connections between visual and sensorimotor networks, while it seems to increase the connectivity between the resting-state networks. Temporal integration is related to one’s sense of the current moment. Conscious experience is somehow located in time. We feel like we occupy an omnipresent widthless temporal point—the now. As Riccardo Manzotti says: Every conscious process is instantiated by patterns of neural activity extended in time. This apparently innocuous hypothesis hides a possible problem. If neural activity spans in time (as it has to do since neural activity consists in trains of temporally distributed spikes), something that takes place in different instants of time has to belong to the same cognitive or conscious process. For instance, what glues together the first and the last spike of neural activity underpinning the perception of a face? We know that neuronal oscillations at different frequencies act as this temporal glue. However, when you’re on LSD, this glue seems to dissolve. As Albert Hofmann and many others report, your normal sense of time vanishes on psychedelics. The famous bicycle trip on acid during which Hofmann reported that he felt he was not moving, and yet he arrived at home somehow, illustrates this distortion of the brain mechanisms that support our normal perception of the flow of time.

The first psychiatrist to look closely at the more extreme forms of sadistic behavior was the eminent German physician Richard von Krafft-Ebing. Besides coining the term “masochism” (named after the Austrian writer Leopold von Sacher-Masoch, whose famous novel, Venus in Furs, deals with a man who craves humiliation), Krafft-Ebing made a major contribution to the literature of morbid psychology with his classic book, Psychopathia Sexualis—a massive compendium of every known perversion, illustrated with hundreds of detailed case histories. At the time of its initial publication in 1886, the book was considered so shocking that its author was nearly expelled from the prestigious British Medico-Psychological Association. Even today, it makes for deeply disturbing reading. Still, it is a significant work, one that clearly demonstrates there’s nothing new about serial murder. Of course, Krafft-Ebing doesn’t use the term “serial murder,” which wouldn’t enter the language for another hundred years. The term he uses is the German word lustmord or “lust-murder.” The essence of this crime is extreme sadistic violence against the victim. The lust-murderer doesn’t just kill his victims. His ultimate pleasure comes from savaging their bodies: disemboweling them, cutting out their genitals, etc. For such blood-crazed sadists, violence is a substitute for sex.

For some male intellectuals, a regrettable aspect of popular newspapers was that they encouraged women. In the Nietzschean tradition the emancipation and education of women were signs of modern shallowness. The man who has depth, Nietzsche pronounces, can think of women only in an ‘oriental way’. Thus Spake Zarathustra contains the famous advice ‘Are you visiting women? Do not forget your whip.’18 Northcliffe, by contrast, started a new trend among newspaper proprietors by considering women readers worthy of attention. In 1891 he launched a cheap illustrated women’s weekly, Forget-Me-Not, which achieved a circulation of over 140,000 in three years, and paved the way for the highly successful Home Chat. He also insisted on two columns of articles devoted to women’s concerns in the Daily Mail.

IT BEGINS TO DAWN ON YOU. THAT EVERYTHING YOU JUST DID. MAY HAVE BEEN A COLOSSAL WASTE OF TIME. IT ALSO BEGINS TO DAWN ON YOU. THAT I WAS THE ONE ALL ALONG. WHO ILLUSTRATED THIS FANTASTIC CARTOON RECTANGLE. WHICH YOU REMEMBER THAT YOU SAW BEFORE SOMEWHERE. AND YOU NOW FIND THIS REVELATION TO BE. ALMOST AS RETROACTIVELY PLAUSIBLE. AS IT IS MIND BLOWING. IT BRINGS TO MIND A FAMOUS QUOTE. FROM A CELEBRATED POET OF YORE. THAT I THINK GOES LIKE THIS. "WELL SHIT. THAT'S A HELL OF A MYSTERY. NO ONE THOUGHT WAS A MYSTERY. AND DIDN'T EVEN REALLY NEED SOLVING. BUT DAMN IF IT DIDN'T JUST GET SOLVED. SO NICE WORK." - CHERUB SHAKESPEARE, PROBABLY.

Many have head knowledge, but they’ve never truly experienced the presence of God. Again, it’s often because they have not fully surrendered their life, as illustrated in these famous lines by Wilbur Rees: I would like to buy $3 worth of God, please. Not enough to explode my soul or disturb my sleep, but just enough to equal a cup of warm milk or a snooze in the sunshine. . . . I want ecstasy, not transformation; I want the warmth of the womb, not a new birth. I want a pound of the Eternal in a paper sack. I would like to buy $3 worth of God, please. 14 So poignant, but very true. How long will we waver? If God is God, follow Him (1 Kings 18:21).

As the famous Garth Brooks song, “Unanswered Prayers,” illustrates, sometimes—later in life—you are thankful for the prayers God chooses not to answer.

The fracas was frequently portrayed in the media as two world-famous Harvard professors brought low by a graduate student from a lesser-known, unorthodox department. This is largely hyperbole. But the clash did illustrate an import aspect of economics—something that the profession shares with other sciences: Ultimately, what determines the standing of a piece of research is not the affiliation, status, or network of the author; it is how well it stacks up to the research criteria of the profession itself. The authority of the work derives from its internal properties—how well it is put together, how convincing the evidence is—not from the identity, connections, or ideology of the researcher. And because these standards are shared within the profession, anyone can point to shoddy work and say it is shoddy.¶¶ This may not seem particularly impressive, unless you consider how unusual it is compared to many other social sciences or much of the humanities.## It would be truly rare in those other fields for a graduate student to get much mileage challenging a senior scholar’s work, as happens with some frequency in economics. But because models enable the highlighting of error, in economics anyone can do it.

Nevertheless, attending Mount Washington Female College likely offered more spacious living than Boyd had enjoyed at home. The circular explained, “All the apartments are provided with registers for ventilation, and the admission of warm air, in the winter season, from large brick furnaces. The Gas arrangements are also complete…Mount Washington College affords to its pupils ample means and appliances, for thorough physical and intellectual training, with all the advantages and surroundings of a Christian family. … The college is furnished with complete apparatus for illustration in the departments of Chemistry and Natural Philosophy; and the public may rest assured that whatever maybe necessary, from time to time, to keep pace with the progress of the age, will be brought into the service of the College.” Boyd

The Scriptures talk a lot about the “head of the corner” or the “chief cornerstone.” God uses the illustration of cornerstones to draw our attention to the Cornerstone He has chosen to build His house. Therefore thus saith the Lord GOD, Behold, I lay in Zion for a foundation a stone, a tried stone, a precious corner stone, a sure foundation: he that believeth shall not make haste. Isaiah 28:16 Typically, a cornerstone is the first stone to be set in place whenever a structure is built, and all other stones in the building are aligned to it. Cornerstones mark the beginning point of construction, unite walls at intersections, and determine the positioning of the building. They support and set the reference point for how an entire framework comes together. Cornerstones often represent “the nominal starting place in the construction of a monumental building, usually carved with the date and laid in place with appropriate ceremonies.”20 You may have seen the famous picture of George Washington laying the cornerstone of the U.S. Capitol building. These stones can be symbolic or ceremonial in nature, and many times, they are inscribed with information about the building’s importance and why it was built. Be it known unto you all, and to all the people of Israel, that by the name of Jesus Christ of Nazareth, whom ye crucified, whom God raised from the dead, even by him doth this man stand here before you whole. This is the stone which was set at nought of you builders, which is become the head of the corner. Neither is there salvation in any other: for there is none other name under heaven given among men, whereby we must be saved. Acts 4:10-12 Now therefore ye are no more strangers and foreigners, but fellowcitizens with the saints, and of the household of God; And are built upon the foundation of the apostles and prophets, Jesus Christ himself being the chief corner stone; In whom all the building fitly framed together groweth unto an holy temple in the Lord: Ephesians 2:19-21

Remember, therefore, when reading aloud the statement of your desire (through which you are endeavoring to develop a "money consciousness"), that the mere reading of the words is of NO CONSEQUENCE-UNLESS you mix emotion, or feeling with your words. If you repeat a million times the famous Emil Coue formula, "Day by day, in every way, I am getting better and better," without mixing emotion and FAITH with your words, you will experience no desirable results. Your subconscious mind recognizes and acts upon ONLY thoughts which have been well-mixed with emotion or feeling.

Remember, therefore, when reading aloud the statement of your desire (through which you are endeavoring to develop a "money consciousness"), that the mere reading of the words is of NO CONSEQUENCE-UNLESS you mix emotion, or feeling with your words. If you repeat a million times the famous Emil Coue formula, "Day by day, in every way, I am getting better and better," without mixing emotion and FAITH with your words, you will experience no desirable results. Your subconscious mind recognizes and acts upon ONLY thoughts which have been well-mixed with emotion or feeling. This is a fact of such importance as to warrant repetition in practically every chapter, because the lack of understanding of this is the main reason the majority of people who try to apply the principle of auto-suggestion get no desirable results. Plain, unemotional words do not influence the subconscious mind. You will get no appreciable results until you learn to reach your subconscious mind with thoughts, or spoken words which have been well emotionalized with BELIEF.

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