Juggler Quotes

When fighting clowns, always go for the juggler.

O me, you juggler, you canker-blossom, you thief of love!

Pity the nation that is full of beliefs and empty of religion. Pity the nation that wears a cloth it does not weave and eats a bread it does not harvest. Pity the nation that acclaims the bully as hero, and that deems the glittering conqueror bountiful. Pity a nation that despises a passion in its dream, yet submits in its awakening. Pity the nation that raises not its voice save when it walks in a funeral, boasts not except among its ruins, and will rebel not save when its neck is laid between the sword and the block. Pity the nation whose statesman is a fox, whose philosopher is a juggler, and whose art is the art of patching and mimicking Pity the nation that welcomes its new ruler with trumpeting, and farewells him with hooting, only to welcome another with trumpeting again. Pity the nation whose sages are dumb with years and whose strongmen are yet in the cradle. Pity the nation divided into fragments, each fragment deeming itself a nation.

We were dancers and drummers and standers and jugglers, and there was nothing anyone needed to accept or tolerate. We celebrated.

Pity the nation whose statesman is a fox, whose philosopher is a juggler, and whose art is the art of patching and mimicking. Pity the nation that welcomes its new ruler with trumpetings, and farewells him with hootings, only to welcome another ruler with trumpetings again. Pity the nation whose sages are dumb with years and whose strong men are yet in the cradle. Pity the nation divided into fragments, each fragment deeming itself a nation.

Art was a union of the father and mother worlds, of mind and blood. It might start in utter sensuality and lead to total abstraction; then again it might originate in pure concept and end in bleeding flesh. Any work of art that was truly sublime, not just a good juggler's trick; that was filled with the eternal secret, like the master's madonna; every obviously genuine work of art had this dangerous, smiling double face, was male-female, a merging of instinct and pure spirituality.

More than a catbird hates a cat, Or a criminal hates a clue, Or the Axis hates the United States, That's how much I love you. I love you more than a duck can swim, And more than a grapefruit squirts, I love you more than a gin rummy is a bore, And more than a toothache hurts. As a shipwrecked sailor hates the sea, Or a juggler hates a shove, As a hostess detests unexpected guests, That's how much you I love. I love you more than a wasp can sting, And more than the subway jerks, I love you as much as a beggar needs a crutch, And more than a hangnail irks. I swear to you by the stars above, And below, if such there be, As the High Court loathes perjurious oathes, That's how you're loved by me.

Arab children, Corn ears of the future, You will break our chains, Kill the opium in our heads, Kill the illusions. Arab children, Don't read about our suffocated generation, We are a hopeless case. We are as worthless as a water-melon rind. Dont read about us, Dont ape us, Dont accept us, Dont accept our ideas, We are a nation of crooks and jugglers. Arab children, Spring rain, Corn ears of the future, You are the generation That will overcome defeat.

The finished clock is resplendent. At first glance it is simply a clock, a rather large black clock with a white face and a silver pendulum. Well crafted, obviously, with intricately carved woodwork edges and a perfectly painted face, but just a clock. But that is before it is wound. Before it begins to tick, the pendulum swinging steadily and evenly. Then, then it becomes something else. The changes are slow. First, the color changes in the face, shifts from white to grey, and then there are clouds that float across it, disappearing when they reach the opposite side. Meanwhile, bits of the body of the clock expand and contract, like pieces of a puzzle. As though the clock is falling apart, slowly and gracefully. All of this takes hours. The face of the clock becomes a darker grey, and then black, with twinkling stars where numbers had been previously. The body of the clock, which has been methodically turning itself inside out and expanding, is now entirely subtle shades of white and grey. And it is not just pieces, it is figures and objects, perfectly carved flowers and planets and tiny books with actual paper pages that turn. There is a silver dragon that curls around part of the now visible clockwork, a tiny princess in a carved tower who paces in distress, awaiting an absent prince. Teapots that pour into teacups and minuscule curls of steam that rise from them as the seconds tick. Wrapped presents open. Small cats chase small dogs. An entire game of chess is played. At the center, where a cuckoo bird would live in a more traditional timepiece, is the juggler. Dress in harlequin style with a grey mask, he juggles shiny silver balls that correspond to each hour. As the clock chimes, another ball joins the rest until at midnight he juggles twelve balls in a complex pattern. After midnight, the clock begins once more to fold in upon itself. The face lightens and the cloud returns. The number of juggled balls decreases until the juggler himself vanishes. By noon it is a clock again, and no longer a dream.

I have been only the humblest jugglers-with-facts; and that, in a country where the truth is what it is instructed to be, reality quite literally ceases to exist, so that everything becomes possible except what we are told is the case; and maybe this was the difference between my Indian childhood and Pakistani adolescence--that in the first I was beset by an infinity of alternative realities, while in the second I was adrift, disoriented, amid an equally infinite number of falsenesses, unrealities and lies.

At Columbus Circle, a juggler wearing a trench cloak and top hat, who is usually at this location afternoons and who calls himself Stretch Man, performs in front of a small, uninterested crowd; though I smell prey, and he seems worthy of my wrath, I move on in search of a less dorky target. Though if he’d been a mime, odds are he’d already be dead.

A musician is a juggler who uses harmonies instead of oranges.

When fighting clowns, always go for the juggler. —BUMPER STICKER

I tried sex once with a woman and it was Gala. It was overated. I tried sex once with a man and that man was the famous juggler Frederico Garcia Lorca. It was very painful.

Before she could look to find a wound he had control of the vision once again, but like a juggler attempting to hold too many balls in the air catching one meant loosing another.

Others may do as they please, but as for me,' he concluded ferociously, 'I shall never disclose to anybody that an acrobat, a trained bear of the magazines, a juggler of comic paragraphs, is not a priceless pearl of art and philosophy.

By diversifying, you become a juggler trying to keep too many balls in the air all at once.

Sometimes I wonder if we're livin' in the same land. Why do you wanna be my friend when I feel like a juggler running out of hands?

Even the finest of jugglers cannot keep a hundred balls in the air forever.

I'm sitting at the bar, rearranging the order of my jokes. I'm under the delusion that I'm having bad shows because of some cosmic misalignment of words, phrases, and ideas. I may as well have cast runes into a spirit bowl, hoping that the collective heart of the audience would open to my necromantic call. Maybe that's how jugglers do it. Those guys never have shitty sets.

How is a juggler you can't hear or see or smell or touch different to no juggler at all?

Were our pupil's disposition so bizarre that he would rather hear a tall story than the account of a great voyage or a wise discussion; that at the sound of a drum calling the youthful ardour of his comrades to arms he would turn aside for the drum of a troop of jugglers; that he would actually find it no more delightful and pleasant to return victorious covered in the dust of battle than after winning a prize for tennis or dancing; then I know no remedy except that his tutor should quickly strangle him when nobody is looking or apprentice him to make fairy-cakes in some goodly town - even if he were the heir of a Duke - following Plato's precept that functions should be allocated not according to the endowments of men's fathers but the endowments of their souls.

Every individual is multicultural; cultures are not monolithic islands but criss-crossed alluvial plains. Individual identity stems from the encounter of multiple collective identities within one and the same person; each of our various affiliations contributes to the formation of the unique creature that we are. Human beings are not all similar, or entirely different; they are all plural within themselves, and share their constitutive traits with very varied groups, combining them in an individual way. The cohabitation of different types of belonging within each one of us does not in general cause any problems- and this ought , in turn, to arouse admiration: like a juggler, we keep all the balls of our identity in the air at once, with the greatest ease! Individual identity results from the interweaving of several collective identities; it is not alone in this respect. What is the origin of the culture of a human group? The reply- paradoxically- is that it comes from previous cultures. A new culture arises from the encounter between several smaller cultures, or from the decomposition of a bigger culture, or from interaction with neighboring culture. There is never a human life prior to the advent of culture.

How do they do it?” He stopped at her side, his eyes on the jugglers. It seemed impossible that not one ball fell to the ground. “Determination.” She elbowed him playfully. “And being willing to make a few mistakes.

Your soul may well consist of artists and artisans, crooks and charlatans, writers and wanderers, poets and performers, vagabonds and visionaries, cigar box jugglers and contortionists, sword swallowers, storey-tellers and snake worshippers, fire eaters and fire dancers, human cannonballs, treasure hunters, swashbuckling pirates, pilgrims, Bedouin tribesmen and Gypsies. Everything that’s rash and wild inside of you is striving for freedom. And I’m not asking for this to hit you like an epiphany. It’s not supposed to. But if you read that list of misfits above and gave just the tiniest of nods – even at a deep subliminal level – then you understand

The chorus was filing on to be A Busy Marketplace, in which various jugglers, gypsies, sword swallowers and gaily dressed yokels would be entirely unsurprised at an apparently drunken baritone strolling on to sing an enormous amount of plot at a passing tenor.

The wolf had been trained by the man, or had trained himself unassisted, to divers wolfish arts, which swelled the receipts. "Above all things, do not degenerate into a man," his friend would say to him. Never did the wolf bite: the man did now and then. At least, to bite was the intent of Ursus. He was a misanthrope, and to italicize his misanthropy he had made himself a juggler. To live, also; for the stomach has to be consulted.

Not that he had come anywhere near attaining her skill at managing hope. She could balance it like a juggler -- let it soar and curb it and pass it from hand to hand. She could spin hope and spin herself through it. Forget mere juggling; she was a veritable trapeze artist with this hope thing.

I am like a little child naked in a strong wind. I have a fever, I shiver, I'm too hot or too cold. My lips retain the unusual fruity taste of your mouth, & the bitter taste of your saliva lingers on my tongue, making me find everything I eat bland, sickening since nothing is as good as your love.

Hans clacked his side-lips. "Do you have the sentence in your head that tomorrow's procession will halt this pest of yours, that it will bar the small-lives from the High Woods?" "If it is as you say, no. No more than prayer can stay a charging horse. But that is not why we pray. God is no cheap juggler as to play for a pfennig.

They forgot to feed them for a few days and, when they remembered, both lions lay limp in their cage, as if dead. A juggler and a clown went in to check - the clown had nicked himself shaving and was bleeding. Anyway, to cut a long story short, the lions weren't dead: they'd merely been sleeping and woke to find two men in their cage and the door wide open." "Gosh," I said. "That must have been very scary, especially for the bleeding clown." "Language, Andy. As it happens, the lions, ignoring the clown, went straight for the juggler..

For the greatest happiness of women is to be right one day, one hour, one second after being wrong all their lives...apparently.

Ah! A man who doesn't know how to watch love is so silly. You really need a lesson.

The gods are alone, and when they stroll, by chance, on earth, they are pathological cases or buffoons, or histrions...who are despised!

For the Soul; Ears are dumb,Eyes are blind,Mind is a juggler.

The veselija has come down to them from a far-off time; and the meaning of it was that one might dwell within the cave and gaze upon shadows, provided only that once in his lifetime he could break his chains, and feel his wings, and behold the sun; provided that once in his lifetime he might testify to the fact that life, with all its cares and its terrors, is no such great thing after all, but merely a bubble upon the surface of a river, a thing that one may toss about and play with as a juggler tosses his golden balls, a thing that one may quaff, like a goblet of rare red wine. Thus having known himself for the master of things, a man could go back to his toil and live upon the memory all his days.

And I’ll tell you something else that we do, us minstrels and jugglers, acrobats and fools, we interact with more people than those I call Rag, Tag & Bobtail. We can’t help it. And that makes us better listeners, more warm-hearted and benevolent, more willing to understand others. In short, better at communicating with people of different backgrounds. We possess better people skills than your average Rag Tag. They’ll fucking hate that, won’t they? But screw them. It’s true

The green sea swept into the shallows and seethed there like slaking quicklime. It surged over the rocks, tossing up spangles of water like a juggler and catching them deftly again behind. It raced knee-deep through the clefts and crevices, twisted and tortured in a thousand ways, till it swept nuzzling and sucking into the holes at the base of the cliff. The whole reef was a shambles of foam, but it was bright in the sun, bright as a shattered mirror, exuberant and leaping with light.

But the old Italian commedia that I loved—Pantaloon, Harlequin, Scaramouche, and the rest—lived on as they always had, with tightrope walkers, acrobats, jugglers, and puppeteers, in the platform spectacles at the St.-Germain and the St.-Laurent fairs.

Wanting All Husband, it's fine the way your mind performs Like a circus, sharp As a sword somebody has To swallow, rough as a bear, Complicated as a family of jugglers, Brave as a sequined trapeze Artist, the only boy I ever met Who could beat me in argument Was why I married you, isn't it, And you have beaten me, I've beaten you, We are old polished hands. Or was it your body, I forget, maybe I foresaw the thousands on thousands Of times we have made love Together, mostly meat And potatoes love, but sometimes Higher than wine, Better than medicine. How lately you bite, you baby, How angels record and number Each gesture, and sketch Our spinal columns like professionals. Husband, it's fine how we cook Dinners together while drinking, How we get drunk, how We gossip, work at our desks, dig in the garden, Go to the movies, tell The children to clear the bloody table, How we fit like puzzle pieces. The mind and body satisfy Like windows and furniture in a house. The windows are large, the furniture solid. What more do I want then, why Do I prowl the basement, why Do I reach for your inside Self as you shut it Like a trunkful of treasures? Wait, I cry, as the lid slams on my fingers.

The stage manager of this [life's] performance was neither God nor the devil. The former was far too gray, and venerable, and old-fashioned; and the latter, surfeited with other people’s sins, was a bore to himself and to others, as dull as rain … in fact, rain at dawn in the prison-court, where some poor imbecile, yawning nervously, is being quietly put to death for the murder of his grandmother. The stage manager whom Rex had in view was an elusive, double, triple, self-reflecting magic Proteus of a phantom, the shadow of many-colored glass balls flying in a curve, the ghost of a juggler on a shimmering curtain.

Avarice is a closed door, you don't know what's happening behind it, & before knocking you feel anxious.

I alone shall know, face to face with my shadow, you dare not distinguish it from the rest of the night...

All their religious conceptions are outward and material. They say that God is of a bodily nature, and has a body in form like that of a man. Material, too, is their conception of eternal life. Ask to what place they are departing, or what hope they have, and they answer — “To another land better than this.” Divine men of old told of a happy life for happy souls, to be passed in the “isles of the blest,” or in the Elysian plains of which Homer speaks. Plato taught that the soul was immortal, and expressly calls the place where it is sent “earth." …They expect to see God with the bodily eye, to hear His voice with their ears, and to touch Him with sensible hands…If a race so craven and carnal can understand anything, let them give ear. Give up your outward vision and look upwards with your mind ; turn aside from the eye of the flesh and raise the eye of the soul : only so will you see God. And if you seek a guide, you must shun vagabonds and jugglers who recommend their phantoms ; you must not blaspheme as idols those who prove themselves to be gods, while you worship one who is not even an idol, but truly a dead man, and seek out a father like unto Him.

The man’s mouth fell open in shock and hurt. He slowly shook his head. “So the stories are true. You really are a brat! You smug bastard. You need someone to throw you over a knee --!” “How dare you!” Mycaela snarled. He lifted his hand to strike the man and couldn’t believe it when the juggler caught his wrist, holding it aloft. They glared at each other, and Mycaela felt small, like a twig caught in the branches of a tree. But now he was forced to really look at the juggler, whose brown muscular chest was in his face, and he grew distracted. The man was wearing nothing except a pair of very colorful, very tight leggings. They clung to his bulge and his buttocks, and he was built like a stallion, lean and taunt and powerful. Mycaela bit his lip, willing himself not to awaken and silently cursing himself for smoking a drug that was sometimes used as an aphrodisiac.

The juggler seemed worried. "Throw it a book," he said. I threw it a book, and it tore into it, like a cat ripping a small animal apart; and while the creature ate its book the juggler pushed the door open. He nearly fell into a deep chasm on the other side. "Not a disaster," he said, as if he was trying to convince himself. "We need more books. Big books." It didn't seem like a good time for reading, but I pulled two huge old books off the shelf in the corner and carried them over to him. He took one, but didn't read it. He told it what a bad book it was and threw it on the ground. The book bounced in the air and hung there quivering, and the juggler man jumped onto it and began to float away. "As long as they think you don't like them," said the juggler, "they migrate back to the library. And we get a free ride." I rode next to him on my book, and we crossed the chasm safely. The books floated away and I waved them good-bye.

A few minutes later Agnes had reached the market and was battling through the throng. She stepped over rotting offal and cabbage leaves to prod breasts of pheasant and partridge. She sniffed oysters and herrings and asked the prices of oranges, shouting her requirements over strident cries of "New mackerel!" and "White turnips and fine carrots, ho!" and "Fine China oranges and fresh juicy lemons!" She watched a juggler with blackened teeth catching knives in his mouth, then sampled a corner of gingerbread so spicy tears welled in her eyes. The street child had slipped from her thoughts. Within the hour, Agnes had arranged deliveries with half a dozen tradesmen whose goods she could not carry, and jotted every item and its price in her notebook for Mrs Tooley's accounts. In her basket she had carefully stowed sweet oranges, Jordan almonds, two dozen pullet eggs, a pickled salmon, half a pound of angelica, the same of glacee cherries.

Time pressure is another driver of effort. As you carried out the Add-3 exercise, the rush was imposed in part by the metronome and in part by the load on memory. Like a juggler with several balls in the air, you cannot afford to slow down; the rate at which material decays in memory forces the pace, driving you to refresh and rehearse information before it is lost. Any task that requires you to keep several ideas in mind at the same time has the same hurried character.

THE CLOWN AND THE COUNTRYMAN A Nobleman announced his intention of giving a public entertainment in the theatre, and offered splendid prizes to all who had any novelty to exhibit at the performance. The announcement attracted a crowd of conjurers, jugglers, and acrobats, and among the rest a Clown, very popular with the crowd, who let it be known that he was going to give an entirely new turn. When the day of the performance came, the theatre was filled from top to bottom some time before the entertainment began. Several performers exhibited their tricks, and then the popular favourite came on empty-handed and alone. At once there was a hush of expectation: and he, letting his head fall upon his breast, imitated the squeak of a pig to such perfection that the audience insisted on his producing the animal, which, they said, he must have somewhere concealed about his person. He, however, convinced them that there was no pig there, and then the applause was deafening. Among the spectators was a Countryman, who disparaged the Clown's performance and announced that he would give a much superior exhibition of the same trick on the following day. Again the theatre was filled to overflowing, and again the Clown gave his imitation amidst the cheers of the crowd. The Countryman, meanwhile, before going on the stage, had secreted a young porker under his smock; and when the spectators derisively bade him do better if he could, he gave it a pinch in the ear and made it squeal loudly. But they all with one voice shouted out that the Clown's imitation was much more true to life. Thereupon he produced the pig from under his smock and said sarcastically, "There, that shows what sort of judges you are!

There were whole habitats where people had had their higher brain functions disengaged, so that they could live like sheep under the care of machines. In others, they’d had their minds implanted into monkeys or dolphins: lost in intricate arboreal power struggles or sorrowful sonar fantasies. Elsewhere, groups of scientists who’d had their minds reshaped by Pattern Jugglers plunged deep into the metastructure of spacetime, concocting elaborate experiments which tinkered with the very fundamentals of existence. One day, it was said, they’d discover a technique for faster-than-light propulsion, passing the secret to their allies who would install the necessary gadgetry in their habitats. The first anyone else would know about it would be when half the Glitter Band suddenly winked out of existence. The Glitter Band, in short, was a place where a reasonably curious human being could easily squander half a lifetime. But I didn’t think Reivich would spend much time there before making his way down to Yellowstone’s surface. He would want to lose himself in Chasm City as quickly as possible. Either way, I wouldn’t be far behind him. Still

When I tell aspiring writers that they should think of themselves as part entertainer, they don’t like to hear it—the word smacks of carnivals and jugglers and clowns. But to succeed you must make your piece jump out of a newspaper or a magazine by being more diverting than everyone else’s piece. You must find some way to elevate your act of writing into an entertainment. Usually this means giving the reader an enjoyable surprise. Any number of devices will do the job: humor, anecdote, paradox, an unexpected quotation, a powerful fact, an outlandish detail, a circuitous approach, an elegant arrangement of words. These seeming amusements in fact become your “style.

The finished clock is resplendent. At first glance it is simply a clock, a rather large black clock with a white face and a silver pendulum. Well crafted, obviously, with intricately carved woodwork edges and a perfectly painted face, but just a clock. But that is before it is wound. Before it begins to tick, the pendulum swinging steadily and evenly. Then, then it becomes something else. The changes are slow. First, the color changes in the face, shifts from white to grey, and then there are clouds that float across it, disappearing when they reach the opposite side. Meanwhile, bits of the body of the clock expand and contract, like pieces of a puzzle. As though the clock is falling apart, slowly and gracefully. All of this takes hours. The face of the clock becomes a darker grey, and then black, with twinkling stars where the numbers had been previously. The body of the clock, which has been methodically turning itself inside out and expanding, is now entirely subtle shades of white and grey. And it is not just pieces, it is figures and objects, perfectly carved flowers and planets and tiny books with actual paper pages that turn. There is a silver dragon that curls around part of the now visible clockwork, a tiny princess in a carved tower who paces in distress, awaiting an absent prince. Teapots that pour into teacups and minuscule curls of steam that rise from them as the seconds tick. Wrapped presents open. Small cats chase small dogs. An entire game of chess is played. At the center, where a cuckoo bird would live in a more traditional timepiece, is the juggler. Dressed in harlequin style with a grey mask, he juggles shiny silver balls that correspond to each hour. As the clock chimes, another ball joins the rest until at midnight he juggles twelve balls in a complex pattern. After midnight the clock begins once more to fold in upon itself. The face lightens and the clouds return. The number of juggled balls decreases until the juggler himself vanishes. By noon it is a clock again, and no longer a dream. A

I’m trying to remember how I got this way. I don’t recall always being this out of it. Nicholas Carr blames our use of electronic technology for scraping us gaunt. In his book The Shallows: What the Internet Is Doing to Our Brains, Carr points out that our habitual electronic multitasking between smartphones, websites, news feeds, and social media is dramatically rewiring the neurological pathways in our brains. According to Carr, all our browsing and liking and streaming and retweeting has conditioned the ability to focus right out of us. “In the choices we have made . . . ,” writes Carr, “we have rejected the intellectual tradition of solitary, single-minded concentration. . . . We have cast our lot with the juggler.”4 “Tell me,” a wise friend once asked, “What is it you are doing with the singular gift of your life?” Juggling?

He could galvanize the dead with his talk. It was a sort of devouring process: when he described a place he ate into it, like a goat at tacking a carpet. If he described a person he ate him alive from head to toe. If it were an event he would devour every detail, like an army of white ants descending upon a forest. He was everywhere at once, in his talk. He attacked from above and below, from the front, rear and flanks. If he couldn't dispose of a thing at once, for lack of a phrase or an image, he would spike it temporarily and move on, coming back to it later and devouring it piecemeal. Or like a juggler,- he would toss it in the air arid, just when you thought he had forgotten it, that it would fall and break, he would deftly put an-arm behind his back and catch it in his palm without even turning his eye. It wasn't just talk he handed out, but language — food and beast language. He always talked against a landscape, like the protagonist of a lost world.

For what were these ancient manipulators of ideas, prestidigitators of a vanished world of thought, but the forbears of the long line of theorists of whom Fulvia was the last inconscient mouthpiece? The new game was still played with the old counters, the new jugglers repeated the old tricks; and the very words now poured out in defence of the new cause were but mercenaries scarred in the service of its enemies. For generations, for centuries, man had fought on; crying for liberty, dreaming it was won, waking to find himself the slave of the new forces he had generated, burning and being burnt for the same beliefs under different guises, calling his instinct ideas and his ideas revelations; destroying, rebuilding, falling, rising, mending broken weapons, championing extinct illusions, mistaking his failures for achievements and planting his flag on the ramparts as they fell. And as the vision of this inveterate conflict rose before him, Odo saw that the beauty, the power, the immortality, dwelt not in the idea but in the struggle for it.

It takes the better part of those months for Herr Thiessen to complete the clock. He works on little else, though the sum of money involved makes the arrangement more than manageable. Weeks are spent on the design and the mechanics. He hires an assistant to complete some of the basic woodwork, but he takes care of all the details himself. Herr Thiessen loves details and he loves a challenge. He balances the entire design on that one specific word Mr. Barris used. Dreamlike. The finished clock is resplendent. At first glance it is simply a clock, a rather large black clock with a white face and a silver pendulum. Well crafted, obviously, with intricately carved woodwork edges and a perfectly painted face, but just a clock. But that is before it is wound. Before it begins to tick, the pendulum swinging steadily and evenly. Then, then it becomes something else. The changes are slow. First, the color changes in the face, shifts from white to grey, and then there are clouds that float across it, disappearing when they reach the opposite side. Meanwhile, bits of the body of the clock expand and contract, like pieces of a puzzle. As thought clock is falling apart, slowly and gracefully. All of this takes hours. The face of the clock becomes a darker grey, and then black, with twinkling stars where the numbers had been previously. The body of the clock, which has been methodically turning itself inside out and expanding, is now entirely subtle shades of white and grey. And it is not just pieces, it is figures and objects, perfectly carved flowers and planets and tiny books with actually paper pages that turn. There is a silver dragon curls around part of the now visible clockwork, a tiny princess in a carved tower who paces in distress awaiting an absent prince. Teapots that our into teacups and minuscule curls of steam that rise from them as the seconds tick. Wrapped presents open. Small cats chase small dogs. An entire game of chess is played. At the center, where a cuckoo bird would live in a more traditional timepiece, is the juggler. Dressed in harlequin style with a grey mask, he juggles shiny silver balls that correspond to each hour. As the hour chimes, another ball joins the rest until at midnight he juggles twelve balls in a complex pattern. After midnight the clock begins once more to fold in upon itself. The face lightens and the colds return. The number of juggled balls decreases until the juggler himself vanishes. By noon it is a clock again, and no longer a dream.

How marvellous useful it is for a man to represent unto himself meats, and all such things that are for the mouth, under a right apprehension and imagination! as for example: This is the carcass of a fish; this of a bird; and this of a hog. And again more generally; This phalernum, this excellent highly commended wine, is but the bare juice of an ordinary grape. This purple robe, but sheep's hairs, dyed with the blood of a shellfish. So for coitus, it is but the attrition of an ordinary base entrail, and the excretion of a little vile snivel, with a certain kind of convulsion: according to Hippocrates his opinion. How excellent useful are these lively fancies and representations of things, thus penetrating and passing through the objects, to make their true nature known and apparent! This must thou use all thy life long, and upon all occasions: and then especially, when matters are apprehended as of great worth and respect, thy art and care must be to uncover them, and to behold their vileness, and to take away from them all those serious circumstances and expressions, under which they made so grave a show. For outward pomp and appearance is a great juggler; and then especially art thou most in danger to be beguiled by it, when (to a man's thinking) thou most seemest to be employed about matters of moment.

And yet, because I am without a doubt mortal, I have the troubling desire to do good, to please, to communicate my warmth, to still be very beautiful sometimes to inspire a taste for beauty. I know that these times are not fertile in grace...I am afraid tomorrow the grace of woman...may be recognized as a public utility & be socialized to the point of becoming a banal article, a bazaar object like in '93 & that one will find types of tender or amusing women with millions of copies like the creations of the big...fashion stores where it is always the same thing. I want to affirm the superiority of the god over that of the organizer of concerts for the poor.

At the banquet were present the Khān’s jugglers, the chief of whom was ordered to shew some of his wonders. He then took a wooden sphere, in which there were holes, and in these long straps, and threw it up into the air till it went out of sight, as I myself witnessed, while the strap remained in his hand. He then commanded one of his disciples to take hold of, and to ascend by, this strap, which he did until he also went out of sight. His master then called him three times, but no answer came: he then took a knife in his hand, apparently in anger, which he applied to the strap. This also ascended till it went quite out of sight: he then threw the hand of the boy upon the ground, then his foot; then his other hand, then his other foot; then his body, then his head. He then came down, panting for breath, and his clothes stained with blood. The man then kissed the ground before the General, who addressed him in Chinese, and gave him some other order. The juggler then took the limbs of the boy and applied them one to another: he then stamped upon them, and it stood up complete and erect. I was astonished, and was seized in consequence by a palpitation at the heart: but they gave me some drink, and I recovered. The judge of the Mohammedans was sitting by my side, who swore, that there was neither ascent, descent, nor cutting away of limbs, but the whole was mere juggling.

In the nineteen-forties in Nazi-occupied Paris, an artist named Marcel Carné made a movie. He filmed it on location on the Street of Thieves, the old Parisian theater street where at one time there was everything from Shakespearean companies to flea circuses, from grand opera to girlie shows. Carné's film was a period piece and required hundreds of extras in nineteenth-century costume. It required horses and carriages and jugglers and acrobats. The movie turned out to be over three hours long. And Carné made it right under the Nazi's noses. The film is a three hour affirmation of life and an examination of the strange and sometimes devastating magnetism of love. Romantic? Oh, babe, it's romantic enough to make a travel poster sigh and a sonnet blush. But completely uncompromising. It's a celebration of the human spirit in all of its goofy, gentle, and grotesque guises. And he made it in the very midst of Nazi occupation, filmed this beauty inside the belly of the beast. He called it Les Enfants du Paradis–Children of Paradise–and forty years later it's still moving audiences around the world. Now, I don't want to take anything away from the French resistance. Its brave raids and acts of sabotage undermined the Germans and helped bring about their downfall. But in many ways Marcel Carné's movie, his Children of Paradise, was more important than the armed resistance. The resisters might have saved the skin of Paris, Carné kept alive its soul.

From the story he told me, I pictured him among those bands of vagrants that in the years that followed I saw more and more often roaming about Europe: false monks, charlatans, swindlers, cheats, tramps and tatterdemalions, lepers and cripples, jugglers, invalid mercenaries, wandering Jews escaped from the infidels with their spirit broken, lunatics, fugitives under banishment, malefactors with an ear cut off, sodomites, and along with them ambulant artisans, weavers, tinkers, chair-menders, knife-grinders, basket-weavers, masons, and also rogues of every stripe, forgers, scoundrels, cardsharps, rascals, bullies, reprobates, recreants, frauds, hooligans, simoniacal and embezzling canons and priests, people who lived on the credulity of others, counterfeiters of bulls and papal seals, peddlers of indulgences, false paralytics who lay at church doors, vagrants fleeing from convents, relic-sellers, pardoners, soothsayers and fortunetellers, necromancers, healers, bogus alms-seekers, fornicators of every sort, corruptors of nuns and maidens by deception and violence, simulators of dropsy, epilepsy, hemorrhoids, gout, and sores, as well as melancholy madness. There were those who put plasters on their bodies to imitate incurable ulcerations, others who filled their mouths with a blood-colored substance to feign accesses of consumption, rascals who pretended to be weak in one of their limbs, carrying unnecessary crutches and imitating the falling sickness, scabies, buboes, swellings, while applying bandages, tincture of saffron, carrying irons on their hands, their heads swathed, slipping into the churches stinking, and suddenly fainting in the squares, spitting saliva and popping their eyes, making the nostrils spurt blood concocted of blackberry juice and vermilion, to wrest food or money from the frightened people who recalled the church fathers’ exhortations to give alms: Share your bread with the hungry, take the homeless to your hearth, we visit Christ, we house Christ, we clothe Christ, because as water purges fire so charity purges our sins.

Like A Rolling Stone" Once upon a time you dressed so fine You threw the bums a dime in your prime, didn't you? People'd call, say, "Beware doll, you're bound to fall" You thought they were all kiddin' you You used to laugh about Everybody that was hangin' out Now you don't talk so loud Now you don't seem so proud About having to be scrounging for your next meal How does it feel? How does it feel To be without a home Like a complete unknown Like a rolling stone? You've gone to the finest school all right, Miss Lonely But you know you only used to get juiced in it And nobody's ever taught you how to live out on the street And now you're gonna have to get used to it You said you'd never compromise With the mystery tramp, but now you realize He's not selling any alibis As you stare into the vacuum of his eyes And say do you want to make a deal? How does it feel? How does it feel To be on your own With no direction home A complete unknown Like a rolling stone? You never turned around to see the frowns on the jugglers and the clowns When they all did tricks for you You never understood that it ain't no good You shouldn't let other people get your kicks for you You used to ride on the chrome horse with your diplomat Who carried on his shoulder a Siamese cat Ain't it hard when you discover that He really wasn't where it's at After he took from you everything he could steal How does it feel? How does it feel To be on your own With no direction home Like a complete unknown Like a rolling stone? Princess on the steeple and all the pretty people They're all drinkin', thinkin' that they got it made Exchanging all precious gifts But you'd better take your diamond ring, you'd better pawn it babe You used to be so amused At Napoleon in rags and the language that he used Go to him now, he calls you, you can't refuse When you ain't got nothing, you got nothing to lose You're invisible now, you got no secrets to conceal How does it feel How does it feel To be on your own With no direction home Like a complete unknown Like a rolling stone? Bob Dylan, Highway 61 Revisited (1965)

Now, who and what is this minstrel in reality? Where does he come from? In what respects does he differ from his predecessors? He has been described as a cross between the early medieval court-singer and the ancient mime of classical times. The mime had never ceased to flourish since the days of classical antiquity; when even the last traces of classical culture disappeared, the descendants of the old mimes still continued to travel about the Empire, entertaining the masses with their unpretentious, unsophisticated and unliterary art. The Germanic countries were flooded out with mimes in the early Middle Ages; but until the ninth century the poets and singers at the courts kept themselves strictly apart from them. Not until they lost their cultured audience, as a result of the Carolingian Renaissance and the clericalism of the following generation, and came up against the competition of the mimes in the lower classes, did they have, to a certain extent, to become mimes themselves in order to be able to compete with their rivals. Thus both singers and comedians now move in the same circles, intermingle and influence each other so much that they soon become indistinguishable from one another. The mime and the scop both become the minstrel. The most striking characteristic of the minstrel is his versatility. The place of the cultured, highly specialized heroic ballad poet is now taken by the Jack of all trades, who is no longer merely a poet and singer, but also a musician and dancer, dramatist and actor, clown and acrobat, juggler and bear-leader, in a word, the universal jester and maître de plaisir of the age. Specialization, distinction and solemn dignity are now finished with; the court poet has become everybody’s fool and his social degradation has such a revolutionary and shattering effect on himself that he never entirely recovers from the shock. From now on he is one of the déclassés, in the same class as tramps and prostitutes, runaway clerics and sent-down students, charlatans and beggars. He has been called the ‘journalist of the age’, but he really goes in for entertainment of every kind: the dancing song as well as the satirical song, the fairy story as well as the mime, the legend of saints as well as the heroic epic. In this context, however, the epic takes on quite new features: it acquires in places a more pointed character with a new straining after effect, which was absolutely foreign to the spirit of the old heroic ballad. The minstrel no longer strikes the gloomy, solemn, tragi-heroic note of the ‘Hildebrandslied’, for he wants to make even the epic sound entertaining; he tries to provide sensations, effective climaxes and lively epigrams. Compared with the monuments of the older heroic poetry, the ‘Chanson de Roland’ never fails to reveal this popular minstrel taste for the piquant.

One cannot subordinate himself simultaneously to God and to his own idolized self. Thus the Sages say: "Whoever becomes angry, [even if he is a prophet] the Devine Presence leaves him". (Pesachim 66b)

All evil was created by God to block out spirituality from the world so that man would be forced to struggle for it and therefore appreciate it more deeply.

Human endeavour is not competent to obtain success and wealth. "Bread is not the possession of the wise nor wealth the possession of the astute (Kohelet 9:11). No one can be sure that his efforts will succeed as the Torah says many times over, it is God who decides who will be rich and who will be poor (Dvarim 28:12).

The Talmudic sage Rav Amram reached such a high level os spirituality that his evil inclination left him, the Talmud tells us that it did so "like a pillar of fire." (kiddushin 81a)

The least among you [the Sages] has the capacity to revive the dead (Avodah Zarah 10b)

The Sages promise us that anyone who studies the Torah will derive spiritual purification from his studies (Berachos 16a).

Because anger is the ultimate expression of pride, anger and a feeling of closeness to God are mutually exclusive.

Such changes may also be reversible. A number of studies have looked at learning to juggle. One of these studies, carried out by Arne May and colleagues at the University of Regensburg in Germany, scanned people’s brains before and after they had practised juggling three balls every day for three months. At the end of this time, two regions of the jugglers’ brains that process visual motion information had increased in size. But after the passage of another three months, during which the same people had not done any juggling, these regions had returned to their previous size.

Sonnet for Thunder Lovers and Primary Colors” When Sweet Nothings Just Don’t Cut It You’re more than soda fizz, than sparklers lit for kids at play, than fireflies’ flit in sky. You spin around my heart and up my thigh with the whistle and boom of a bottle rocket. Baby, those other jugglers’ gigolo tricks— magician’s spell and mime’s unspoken sigh— don’t turn my head, don’t catch my ear or eye, but your mercury rolls in my hip pocket. Some women like the subtle hints, require a pastel touch, a whispered cry and blush, but not me; I am all hyperbole. Your howls of red, your strokes of green sapphire, your cayenne kiss, serrano pepper rush from lip to nape of knee will do for me. from Rattle #12, Winter 1999. Tribute to Latino/Chicano Poets

Life is a rope between two mountains on which you are a juggler, either you have to move forward or backward but with lots of hardships.

Like the Artha-shastra, but perhaps for the opposite reason, the Kama-sutra is wary of nuns; it advises a married woman not to hang out with “any woman who is a beggar, a religious mendicant, a Buddhist nun, promiscuous, a juggler, a fortune-teller, or a magician who uses love-sorcery worked with roots (4.1.9).

Man (אדם) is meant to be God's garden, his אֲדָמָה, and bring forth a unique fruit. The "fruit" of his labors is a life of unselfish devotion to the service of God.

Only when a juggler misses catching his ball does he appeal to me.

You see, I’m a juggler with words myself.

From the story he told me, I pictured him among those bands of vagrants that in the years that followed I saw more and more often roaming about Europe: false monks, charlatans, swindlers, cheats, tramps and tatterdemalions, lepers and cripples, jugglers, invalid mercenaries, wandering Jews escaped from the infidels with their spirit broken, lunatics, fugitives under banishment, malefactors with an ear cut off, sodomites, and along with them ambulant artisans, weavers, tinkers, chair-menders, knife-grinders, basket-weavers, masons, and also rogues of every stripe, forgers, scoundrels, cardsharps, rascals, bullies, reprobates, recreants, frauds, hooligans, simoniacal and embezzling canons and priests, people who lived on the credulity of others, counterfeiters of bulls and papal seals, peddlers of indulgences, false paralytics who lay at church doors, vagrants fleeing from convents, relic-sellers, soothsayers and fortunetellers, necromancers, healers, bogus alms-seekers, fornicators of every sort, corruptors of nuns and maidens by deception and violence, simulators of dropsy, epilepsy, hemorrhoids, gout, and sores, as well as melancholy madness. There were those who put plasters on their bodies to imitate incurable ulcerations, others who filled their mouths with a blood-colored substance to feign accesses of consumption, rascals who pretended to be weak in one of their limbs, carrying unnecessary crutches and imitating the falling sickness, scabies, buboes, swellings, while applying bandages, tincture of saffron, carrying irons on their hands, their heads swathed, slipping into the churches stinking, and suddenly fainting in the squares, spitting saliva and popping their eyes, making the nostrils spurt blood concocted of blackberry juice and vermilion, to wrest food or money from the frightened people who recalled the church fathers’ exhortations to give alms: Share your bread with the hungry, take the homeless to your hearth, we visit Christ, we house Christ, we clothe Christ, because as water purges fire so charity purges our sins.

Consider the challenge of body on mind in an asana. The outer leg overstretches, but the inner leg drops. We can choose whether to let the situation be, or we can challenge the imbalance by the application of cognitive comparison supported by the force of will. Maintaining the equilibrium so that there is no back-sliding, we can add our observation of the knees, feet, skin, ankles, soles of feet, toes, etc.; the list is endless. Our attention not only envelopes but penetrates. Can we, like a juggler, keep these many balls in the air without letting any one drop, without release of attention? Is it any wonder asana takes many years to perfect? When each new point has been studied, adjusted, and sustained, one's awareness and concentration will necessarily be simultaneously directed to myriad points so that in effect consciousness itself is diffused evenly throughout the body. Here consciousness is penetrating and enveloping, illuminated by directed flow of intelligence and serving as a transformative witness to body and mind.

In Pakistani political history, the former pawns of the establishment and the current jugglers of the ignorants are the most unsuitable figures. Factually, neither Family Kingdom nor a fool and lunatic leaders can be beneficial for the state and the people and even for the pillars of democracy in an exact democratic context.

. Those who listened unwarily to that voice could seldom report the words that they heard; and if they did, they wondered, for little power remained in them. Mostly they remembered only that it was a delight to hear the voice speaking, all that it said seemed wise and reasonable, and desire awoke in them by swift agreement to seem wise themselves. When others spoke they seemed harsh and uncouth by contrast; and if they gainsaid the voice, anger was kindled in the hearts of those under the spell. For some the spell lasted only while the voice spoke to them, and when it spoke to another they smiled, as men do who see through a juggler’s trick while others gape at it.

If every season carry in itself the other three, then verily were all the seasons one at every point of Time and Space. Aye, Time is the greatest juggler, and men are the greatest dupes.

In soccer, as in almost everything else, the Chinese were first. Five thousand years ago, Chinese jugglers had balls dancing on their feet, and it wasn’t long before they organized the first matches.

ADD may be present. Since everybody will answer “yes” to some number of questions, and since we have not established norms for this questionnaire, it should only be used as an informal gauge. 1. Are you left-handed or ambidextrous? 2. Do you have a family history of drug or alcohol abuse, depression, or manic-depressive illness? 3. Are you moody? 4. Were you considered an underachiever in school? Now? 5. Do you have trouble getting started on things? 6. Do you drum your fingers a lot, tap your feet, fidget, or pace? 7. When you read, do you find that you often have to reread a paragraph or an entire page because you are daydreaming? 8. Do you tune out or space out a lot? 9. Do you have a hard time relaxing? 10. Are you excessively impatient? 11. Do you find that you undertake many projects simultaneously so that your life often resembles a juggler who’s got six more balls in the air than he can handle? 12. Are you impulsive? 13. Are you easily distracted? 14. Even if you are easily distracted, do you find that there are times when your power of concentration is laser-beam intense? 15. Do you procrastinate chronically? 16. Do you often get excited by projects and then not follow through? 17. More than most people, do you feel that it is hard for you to make yourself understood? 18. Is your memory so porous that if you go from one room to the next to get something, by the time you get to the next room you’ve sometimes forgotten what you were looking for? 19. Do you smoke cigarettes? 20. Do you drink too much? 21. If you have ever tried cocaine, did you find that it helped you focus and calmed you down, rather than making you high? 22. Do you change the radio station in your car frequently? 23. Do you wear out your TV remote-control switch by changing stations frequently? 24. Do you feel driven, as if an engine inside you won’t slow down? 25. As a kid, were you called words like, “a daydreamer,” “lazy,” “a spaceshot,” “impulsive,” “disruptive,” “lazy,” or just plain “bad”?

What our time has labeled covert intelligence operations were described in the Arthashastra as an important tool. Operating in “all states of the circle” (that is, friends and adversaries alike) and drawn from the ranks of “holy ascetics, wandering monks, cart-drivers, wandering minstrels, jugglers, tramps, [and] fortune-tellers,” these agents would spread rumors to foment discord within and between other states, subvert enemy armies, and “destroy” the King’s opponents at opportune moments.

It was not always possible to take that war seriously. In the first place I could not understand why we, the French, and the English were fighting the Germans and the Austrians. Being in vaudeville all of my life had made me international-minded. I had met too many kindly German performers—singers and acrobats and musicians—to believe they could be as evil as they were being portrayed in our newspapers. Having known Germans, Japanese jugglers, Chinese magicians, Italian tenors, Swiss yodelers and bell-ringers, Irish, Jewish, and Dutch comedians, British dancers, and whirling dervishes from India, I believed people from everywhere in the world were about the same. Not as individuals, of course, but taken as a group.

They walked slowly past fire-swallowers, conjurors and tumblers, pausing to purchase a skin of new wine. Daisy drank carefully from the wineskin, but a drop escaped from the corner of her lips. Matthew smiled and began to reach into his pocket for a handkerchief, then appeared to think better of it. Instead he ducked his head and kissed away the wine droplet. “You’re supposed to be protecting me from impropriety,” she said with a grin, “and instead you’re leading me astray.” The backs of his knuckles stroked gently against the side of her face. “I’d like to lead you astray,” he murmured. “In fact, I’d like to lead you straight into those woods and…” He seemed to lose his train of thought as he stared into her soft, dark eyes. “Daisy Bowman,” he whispered. “I wish—” But she was never to find out what his wish was, because she was abruptly pushed into him as a crowd jostled past. Everyone was bent on obtaining a view of a pair of jugglers who had clubs and hoops spinning in the air between them. In the rush the wineskin was knocked from Daisy’s hands and trampled underfoot. Matthew put his arms around her protectively. “I dropped the wine,” Daisy said regretfully. “Just as well.” His mouth lowered to her ear, his lips brushing the delicate outer rim. “It might have gone to my head. And then you might have taken advantage of me.” Daisy smiled and snuggled against his hard form, her senses delighting in the reassuring warmth of his embrace. “Are my designs on you that obvious?” she asked in a muffled voice. He nuzzled into the soft space beneath her earlobe. “I’m afraid so.

Prince Bolo, who didn't like his Pages to say, 'I told you so,' snapped back: 'What's this, Blabbermouth? Are you a girl?' You /noticed/, sire,' said Blabbermouth. 'No point /pretending/ any /more/.' 'You tricked us,' said Bolo, blushing. 'You tricked /me/.' Blabbermouth was outraged by Bolo's ingratitude. 'Tricking you isn't exactly /difficult/, excuse /me/,' she cried. '/Jugglers/ can do it, so why not /girls/?

Very innovative companies, such a Twitter, know how important this type of cross-pollination is to creativity in their businesses, and they make an effort to hire people with unusual skills, knowing that diversity of thinking will certainly influence the development of their products. According to Elizabeth Weil, the head of organizational culture at Twitter, a random sampling of people at the company would reveal former rock stars, a Rubik’s cube champion, a world-class cyclist, and a professional juggler. She said that the hiring practices at Twitter guarantee that all employees are bright and skilled at their jobs, but are also interested in other unrelated pursuits. Knowing this results in random conversations between employees in the elevator, at lunch, and in the hallways. Shared interests surface, and the web of people becomes even more intertwined. These unplanned conversations often lead to fascinating new ideas. Elizabeth is a great example herself; she is a top ultramarathon runner, professional designer, and former venture capitalist. Although these skills aren’t required in her day-to-day work at Twitter, they naturally influence the ideas she generates. Her artistic talents have deeply influenced the ways Elizabeth builds the culture at Twitter. For instance, whenever a new employee starts, she designs and prints a beautiful handmade welcome card on her 1923 antique letterpress.

Say It So You Lift Your Spirits: Even non-Scandinavians and optimists can feel their moods dampen during the dark of night. Luckily there are some easy ways to lift your spirits. Here are three: 1. When describing something in the past, what role do you play in the story? Are more of your most retold stories anchored by a positively or a negatively felt incidents? Those who are most resilient, energetic, caring and involved with others tend to link their stories to redemptive themes. Those who are plagued by down moods often mark their stories with what went wrong and don't include a redeeming detail. These narrative themes affect our choices -- what we think we have to choose from -- and how others see us. 2. We each have many personalities inside us. Some situations enable us to use our best talents and display our best side. Instead of attempting to be a "virtuoso juggler" as many women do, discover the specific situations where you thrive. When you can identify those moments you are better able, like a defensive driver, to see potential danger farther ahead where situations or individuals spark your discomfort or worse. Conversely, knowing where you shine (temperament and talent) means you can make smarter choices about how you work and live -- and with whom. While Marcus Buckingham's book is intended for women, I know three male friends who have found it helpful in how they seek the situations that best serve them -- professionally, personally and socially. 3. We each have a set point along the continuum of pessimistic to optimistic. After winning the lottery or experiencing the death of a loved one, we eventually return to that set point.

Chanters, second-edition sellers, boardwalkers, strawers, mountebanks, clowns, jugglers, conjurors, grease removers, nostrum vendors, fortune-tellers, French polishers, turnpike sailors, various classes of lurkers and peepers, stenographic-card sellers, racetrack-card sellers.

His miracles, granted to be true, were nothing more than the common works of those enchanters, who, for a few oboli, will perform greater deeds in the midst of the Forum, calling up the souls of heroes, exhibiting sumptuous banquets, and tables covered with food, which have no reality. Such things do not prove these jugglers to be sons of God; nor do Christ's miracles." [271:2]

In learning to Juggle, the angst comes from failure - from having the ball fall to the floor. So with step one, numb aspiring jugglers to that. Having the ball fall to the floor becomes more normal than the ball not falling to the floor.

While it was true that the president of the United States was the world’s ultimate juggler of tasks, it was also a fact that the First Lady, traditionally, was no slouch in that department either.

She felt like a juggler tossing torches into the air. The circus-master kept throwing more in. Sooner or later, one would fall, and the life she'd built would burn to cinders.

Within the team you must balance demands, sometimes conflicting, between individual team members and the task, between individual team members and the team, between the team and the task, and between the team and the larger organization. Again, you're a juggler. And if you drop one of these balls, you must invest in damage control.

Take heed to yourselves,” says Baxter, “because the tempter will make his first and sharpest onset upon you. If you will be the leaders against him, he will spare you no further than God restraineth him. He beareth you the greatest malice that are engaged to do him the greatest mischief. As he hateth Christ more than any of us, because he is the General of the field, and the ‘Captain of our salvation,’ and doth more than all the world besides against the kingdom of darkness; so doth he note the leaders under him more than the common soldiers, on the like account, in their proportion. He knows what a rout he may make among the rest, if the leaders fall before their eyes. He hath long tried that way of fighting, ‘neither with small nor great,’ comparatively, but these; and of ‘smiting the shepherds, that he may scatter the flock.’ And so great has been his success this way, that he will follow it on as far as he is able. Take heed, therefore, brethren, for the enemy hath a special eye upon you. You shall have his most subtle insinuations, and incessant solicitations, and violent assaults. As wise and learned as you are, take heed to yourselves lest he overwit you. The devil is a greater scholar than you, and a nimbler disputant; he can ‘transform himself into an angel of light’ to deceive. He will get within you and trip up your heels before you are aware; he will play the juggler with you undiscerned, and cheat you of your faith or innocency, and you shall not know that you have lost it; nay, he will make you believe it is multiplied or increased when it is lost. You shall see neither hook nor line, much less the subtle angler himself, while he is offering you his bait. And his baits shall be so fitted to your temper and disposition, that he will be sure to find advantages within you, and make your own principles and inclinations to betray you; and whenever he ruineth you, he will make you the instrument of your own ruin.

Ad – Add               Ail – Ale               Air – Heir               Are - R               Ate - Eight               Aye - Eye - I                 B                            B – Be - Bee               Base - Bass               Bi – Buy - By – Bye               Bite - Byte               Boar - Bore               Board - Bored                 C               C – Sea - See               Capital – Capitol               Chord – Cord               Coarse - Course               Core - Corps               Creak – Creek               Cue – Q - Queue                 D               Dam - Damn               Dawg – Dog               Days – Daze               Dew – Do – Due               Die – Dye               Dual - Duel                 E               Earn – Urn               Elicit – Illicit               Elude - Illude               Ex – X                 F               Fat – Phat               Faze - Phase               Feat - Feet               Find – Fined               Flea – Flee               Forth - Fourth                 G               Gait – Gate               Genes – Jeans               Gnawed - Nod               Grate – Great                 H               Hair - Hare               Heal - Heel               Hear - Here               Heard - Herd               Hi - High               Higher – Hire               Hoarse - Horse               Hour - Our                 I               Idle - Idol               Ill – Ill               In – Inn               Inc – Ink               IV – Ivy                 J               Juggler - Jugular                 K               Knead - Need               Knew - New               Knight - Night               Knot – Naught - Not               Know - No               Knows - Nose                 L               Lead – Led               Lie - Lie               Light – Lite               Loan - Lone                 M               Mach – Mock               Made - Maid               Mane – Main               Meat - Meet               Might - Mite               Mouse - Mouth                 N               Naval - Navel               None - Nun                 O               Oar - Or – Ore               One - Won                 P               Paced – Paste               Pail – Pale                            Pair - Pear               Peace - Piece               Peak - Peek               Peer - Pier               Pray - Prey                 Q               Quarts - Quartz                 R               Rain - Reign               Rap - Wrap               Read - Red               Real - Reel               Right - Write               Ring - Wring                 S               Scene - Seen               Seas – Sees - Seize               Sole – Soul               Some - Sum               Son - Sun               Steal – Steel               Suite - Sweet                 T               T - Tee               Tail – Tale               Team – Teem               Their – There - They’re               Thyme - Time               To – Too - Two                 U               U - You                 V               Vale - Veil               Vain – Vane - Vein               Vary – Very               Verses - Versus                 W               Waive - Wave               Ware – Wear - Where               Wait - Weight               Waist - Waste               Which - Witch               Why – Y               Wood - Would                 X                 Y               Yoke - Yolk               Yore - Your – You’re                 Z

Lust drives the chariot of the yetzer hara; the seat on which it sits is pride.

Vilna Gaon was also an expert in nearly all secular wisdom of his time, for he felt that such knowledge enhanced the understanding of many aspects of Torah and Kabbalah; he even left several volumes which deal with mathematics and astronomy (personal testimony of the Vilna Gaon's children in the introduction of the Hebrew text of this book)/