Latin Inspirational Quotes

Status quo, you know, is Latin for 'the mess we're in'.

A revolution is coming – a revolution which will be peaceful if we are wise enough; compassionate if we care enough; successful if we are fortunate enough – but a revolution which is coming whether we will it or not. We can affect its character; we cannot alter its inevitability. [Report to the United States Senate on his trip to Latin America and the Alliance for Progress, May 9-10 1966]

Mister Dresden," he said. "And Miss Rodriguez, I believe. I didn't realize you were an art collector." "I am the foremost collector of velvet Elvii in the city of Chicago," I said at once. "Elvii?" Marcone inquired. "The plural could be Elvises, I guess," I said. "But if I say that too often, I start muttering to myself and calling things 'my precious,' so I usually go with the Latin plural.

Sometimes in life confusion tends to arise and only dialogue of dance seems to make sense.

All languages that derive from Latin form the word "compassion" by combining the prefix meaning "with" (com-) and the root meaning "suffering" (Late Latin, passio). In other languages, Czech, Polish, German, and Swedish, for instance - this word is translated by a noun formed of an equivalent prefix combined with the word that means "feeling". In languages that derive from Latin, "compassion" means: we cannot look on coolly as others suffer; or, we sympathize with those who suffer. Another word with approximately the same meaning, "pity", connotes a certain condescension towards the sufferer. "To take pity on a woman" means that we are better off than she, that we stoop to her level, lower ourselves. That is why the word "compassion" generally inspires suspicion; it designates what is considered an inferior, second-rate sentiment that has little to do with love. To love someone out of compassion means not really to love.

Caution not spirit, let it roam wild; for in that natural state dance embraces divine frequency.

Dance as the narration of a magical story; that recites on lips, illuminates imaginations and embraces the most sacred depths of souls.

If movements were a spark every dancer would desire to light up in flames.

If spirit is the seed, dance is the water of its evolution.

Dance is the timeless interpretation of life.

Show me a person who found love in his life and did not celebrate it with a dance.

If you opened the dictionary and searched for the meaning of a Goddess, you would find the reflection of a dancing lady.

Don't breathe to survive; dance and feel alive.

Life is an affair of mystery; shared with companions of music, dance and poetry.

Pax amor et lepos in iocando. Latin for Peace, love and sense of fun.

Dance to inspire, dance to freedom, life is about experiences so dance and let yourself become free.

Through synergy of intellect, artistry and grace came into existence the blessing of a dancer.

DANCE – Defeat All Negativity (via) Creative Expression.

She who is a dancer can only sway the silk of her hair like the summer breeze.

The sense of wonder and possibility – that I owed to the Argentine women who had fought for freedom before the universe conspired and the stars aligned to make me.

Stultorum cavea mundus est.

Dance is the ritual of immortality.

One step, two steps, three steps; like winds of time experience joy of centuries, when movements become revelations of the dance of destinies.

Ad astra per aspera- From the mud to the stars

I don’t want it to be fine. Fine comes from the Latin finis, which means end. This feels a lot more like a beginning.

Burdened no more is soul for whom life flows through dance and not breath.

Dance is that delicacy of life radiating every particle of our existence with happiness.

Ite, inflammate omnia.

Transcend the terrestrial; surpass the celestial, from nature’s hands when you receive the sublime pleasures of dance.

Destitutus ventis, remos adhibe.

When a dancer performs, melody transforms into a carriage, expressions turn into fuel and spirit experiences a journey to a world where passion attains fulfillment.

Omnes feriunt, ultima necat.

Quam bene vivas refert, non quam diu

Burdened no more is soul for whom life flows through dance like breath.

Make dance the mission every moment seeks to accomplish.

Spirit is a child, the tune of dancing feet its lullaby.

An artist’s job is to inspire, from the Latin inspirare: to breathe into. The primary function of art is to inspire new thought shaped by emotions using the creative mediums we master—be it painting, music, design, craft, or photography.

Already the people murmur that I am your enemy because they say that in verse I give the world your me. They lie, Julia de Burgos. They lie, Julia de Burgos. Who rises in my verses is not your voice. It is my voice because you are the dressing and the essence is me; and the most profound abyss is spread between us. You are the cold doll of social lies, and me, the virile starburst of the human truth. You, honey of courtesan hypocrisies; not me; in all my poems I undress my heart. You are like your world, selfish; not me who gambles everything betting on what I am. You are only the ponderous lady very lady; not me; I am life, strength, woman. You belong to your husband, your master; not me; I belong to nobody, or all, because to all, to all I give myself in my clean feeling and in my thought. You curl your hair and paint yourself; not me; the wind curls my hair, the sun paints me. You are a housewife, resigned, submissive, tied to the prejudices of men; not me; unbridled, I am a runaway Rocinante snorting horizons of God's justice. You in yourself have no say; everyone governs you; your husband, your parents, your family, the priest, the dressmaker, the theatre, the dance hall, the auto, the fine furnishings, the feast, champagne, heaven and hell, and the social, "what will they say." Not in me, in me only my heart governs, only my thought; who governs in me is me. You, flower of aristocracy; and me, flower of the people. You in you have everything and you owe it to everyone, while me, my nothing I owe to nobody. You nailed to the static ancestral dividend, and me, a one in the numerical social divider, we are the duel to death who fatally approaches. When the multitudes run rioting leaving behind ashes of burned injustices, and with the torch of the seven virtues, the multitudes run after the seven sins, against you and against everything unjust and inhuman, I will be in their midst with the torch in my hand.

If there's no wind, row.

Limit not to only five, when the divine gifts the supreme sixth; the sense of dance

I write poetry because the English word Inspiration comes from Latin Spiritus, breath, I want to breathe freely.

Compassion dervies from the Latin patiri and the Greek pathein, meaning "to suffer, undergo or experience." So "compassion" means "to endure [something] with another person," to put ourselves in somebody else's shoes, to feel her pain as though it were our own, and to enter generously into his point of view. That is why our hearts, discover what gives us pain, and then refuse, under any circumstance whatsoever, to inflict that pain on anybody else. Compassion can be defined, therefore, as an attitude of principled, consistent altruism.

The text, written in Latin, was inspired by a fifteenth-century chef known as Maestro Martino and was called De honesta voluptate et valitudine, “On honest pleasures and good health.

What do think about abortion?” “I could feel the tension growing in the plane. I dropped my head, acknowledging that we had very different value systems for our lives. Then I thought of a way to respond to his question. “You’re Jewish, right?” I asked. “Yes,” he said defensively. “I told you I was!” “Do you know how Hitler persuaded the German people to destroy more than six million of your Jewish ancestors?” The man looked at me expectantly, so I continued. ”He convinced them that Jews were not human and then exterminated your people like rats.” I could see that I had his attention, so I went on. “Do you understand how Americans enslaved, tortured, and killed millions of Africans? We dehumanized them so our constitution didn’t apply to them, and then we treated them worse than animals.” “How about the Native Americans?” I pressed. “Do you have any idea how we managed to hunt Indians like wild animals, drive them out of their own land, burn their villages, rape their women, and slaughter their children? Do you have any clue how everyday people turned into cruel murderers?” My Jewish friend was silent, and his eyes were filling with tears as I made my point. “We made people believe that the Native Americans were wild savages, not real human beings, and then we brutalized them without any conviction of wrongdoing! Now do you understand how we have persuaded mothers to kill their own babies? We took the word fetus, which is the Latin word for ‘offspring,’ and redefined it to dehumanize the unborn. We told mothers, ‘That is not really a baby you are carrying in your belly; it is a fetus, tissue that suddenly forms into a human being just seconds before it exits the womb.’ In doing so, we were able to assert that, in the issue of abortion, there is only one person’s human rights to consider, and then we convinced mothers that disposing of fetal tissue (terminating the life of their babies) was a woman’s right. Our constitution no longer protects the unborn because they are not real people. They are just lifeless blobs of tissue.” By now, tears were flowing down his cheeks. I looked right into his eyes and said, “Your people, the Native Americans, and the African Americans should be the greatest defenders of the unborn on the planet. After all, you know what it’s like for society to redefine you so that they can destroy your races. But ironically, your races have the highest abortion rates in this country! Somebody is still trying to exterminate your people, and you don’t even realize it. The names have changed, but the plot remains the same!” Finally he couldn’t handle it anymore. He blurted out, “I have never heard anything like this before. I am hanging out with the wrong people. I have been deceived!

The temporary alliance between the elite and the mob rested largely on this genuine delight with which the former watched the latter destroy respectability. This could be achieved when the German steel barons were forced to deal with and to receive socially Hitler's the housepainter and self-admitted former derelict, as it could be with the crude and vulgar forgeries perpetrated by the totalitarian movements in all fields of intellectual life, insofar as they gathered all the subterranean, nonrespectable elements of European history into one consistent picture. From this viewpoint it was rather gratifying to see that Bolshevism and Nazism began even to eliminate those sources of their own ideologies which had already won some recognition in academic or other official quarters. Not Marx's dialectical materialism, but the conspiracy of 300 families; not the pompous scientificality of Gobineau and Chamberlain, but the "Protocols of the Elders of Zion"; not the traceable influence of the Catholic Church and the role played by anti-clericalism in Latin countries, but the backstairs literature about the Jesuits and the Freemasons became the inspiration for the rewriters of history. The object of the most varied and variable constructions was always to reveal history as a joke, to demonstrate a sphere of secret influences of which the visible, traceable, and known historical reality was only the outward façade erected explicitly to fool the people. To this aversion of the intellectual elite for official historiography, to its conviction that history, which was a forgery anyway, might as well be the playground of crackpots, must be added the terrible, demoralizing fascination in the possibility that gigantic lies and monstrous falsehoods can eventually be established as unquestioned facts, that man may be free to change his own past at will, and that the difference between truth and falsehood may cease to be objective and become a mere matter of power and cleverness, of pressure and infinite repetition. Not Stalin’s and Hitler's skill in the art of lying but the fact that they were able to organize the masses into a collective unit to back up their lies with impressive magnificence, exerted the fascination. Simple forgeries from the viewpoint of scholarship appeared to receive the sanction of history itself when the whole marching reality of the movements stood behind them and pretended to draw from them the necessary inspiration for action.

All languages that derive fromLatin form the word 'compassion' by combining the prefix meaning 'with' (com-) and the root meaning 'suffering' (Late Latin, passio). In other languages- Czech, Polish, German, and Swedish, for instance- this word is translated by a noun formed of an equivalent prefixcombined with the word that means 'feeling' (Czech, sou-cit; Polish, wsspół-czucie; German, Mit-gefühl; Swedish, medkänsla). In languages that derive from Latin, 'compassion' means: we cannot look on coolly as others suffer; or, we sympathize with those who suffer. Another word with approximately the same meaning, 'pity' (French, pitié; Italian, pietà; etc.), connotes a certain condescension towards the sufferer. 'To take pity on a woman' means that we are better off than she, that we stoop to her level, lower ourselves. That is why the word 'compassion' generally inspires suspicion; it designates what is considered an inferior, second-rate sentiment that has little to do with love. To love someone out of compassion means not really to love. In languages that form the word 'compassion' not from the root 'suffering' but from the root 'feeling', the word is used in approximately the same way, but to contend that it designates a bad or inferior sentiment is difficult. The secret strength of its etymology floods the word with another light and gives it a broader meaning: to have compassion (co-feeling) means not only to be able to live with the other's misfortune but also to feel with him any emotion- joy, anxiety, happiness, pain. This kind of compassion (in the sense of soucit, współczucie, Mitgefühl, medkänsla) therefore signifies the maximal capacity of affective imagination, the art of emotional telepathy. In the hierarchy of sentiments, then, it is supreme. By revealing to Tomas her dream about jabbing needles under her fingernails, Tereza unwittingly revealed that she had gone through his desk. If Tereza had been any other woman, Tomas would never have spoken to her again. Aware of that, Tereza said to him, 'Throw me out!' But instead of throwing her out, he seized her and kissed the tips of her fingers, because at that moment he himself felt the pain under her fingernails as surely as if the nerves of her fingers led straight to his own brain. Anyone who has failed to benefit from the the Devil's gift of compassion (co-feeling) will condemn Tereza coldly for her deed, because privacy is sacred and drawers containing intimate correspondence are not to be opened. But because compassion was Tomas's fate (or curse), he felt that he himself had knelt before the open desk drawer, unable to tear his eyes from Sabina's letter. He understood Tereza, and not only was he incapable of being angry with her, he loved her all the more.

There we understood that our vocation, our true vocation, was to move for eternity along the roads and seas of the world. Always curious, looking into everything that came before our eyes, sniffing out each corner but only ever faintly — not setting down roots in any land or staying long enough to see the substratum of things; the outer limits would suffice. As all the sentimental themes the sea inspires passed through our conversation, the lights of Antofagasta began to shine in the distance, to the northeast. It was the end of our adventure as stowaways, or at least the end of this adventure now that our boat was returning to Valparaíso. ESTA VEZ, FRACASO this time, disaster I can see him now clearly, the drunk captain, like all his officers and the owner of the vessel alongside with his great big mustache, their crude gestures the results of bad wine. And the wild laughter as they recounted our odyssey. “Hey listen, they’re tigers, they’re on your boat now for sure, you’ll find out when you’re out to sea.” The captain must have let slip to his friend and colleague this or some similar phrase. We

Audience of angels descend in the ambiance reciting praises in your glory, when you wear your dance shoes, when you arrive at the stage and with every step you take beneath your feet heaven moves. That is the power of dance.

The word comes from the Latin—inspirare, meaning to breathe in or blow into. For the lungs to draw in air, they must first be emptied. For the mind to draw inspiration, it wants space to welcome the new. The universe seeks balance. Through this absence, you are inviting energy in.

Just as warfare has often served as inspiration for wargames, so wargames can be, and often have been, played not just by amateurs (from the Latin amatores, lovers) for their own sake but by the military for training, planning, and preparation too. To the extent that they allow and force players to strategize, indeed, they are not merely the best form of training but the only available one.

Samuel Sharpe’s movement was different: resistance on a dazzling scale. It was well organized, spread across a wide geographic area and inspired by Baptist salvation thinking. More than 30,000 enslaved people were eventually brought into a plot rooted in nonviolent idealism that anticipated 20th century movements such as those led by Mahatma Gandhi, Martin Luther King, Jr., and the proponents of liberation theology in Latin America.

Remembering his creative exposition on the subject of purple-spotted dingy-dippers, Lillian gave a little huff of amusement. She had always considered Westcliff an utterly humorless man…and in that, she had misjudged him. “I thought you never lied,” she said. His lips twitched. “Given the options of seeing you become ill at the dinner table, or lying to get you out of there quickly, I chose the lesser of two evils. Do you feel better now?” “Better…yes.” Lillian realized that she was resting in the crook of his arm, her skirts draped partially over one of his thighs. His body was solid and warm, perfectly matched to hers. Glancing downward, she saw that the fabric of his trousers had molded firmly around his muscular thighs. Unladylike curiosity awakened inside her, and she clenched her fingers against the urge to slide her palm over his leg. “The part about the dingy-dipper was clever,” she said, dragging her gaze up to his face. “But inventing a Latin name for it was positively inspired.” Westcliff grinned. “I always hoped my Latin would be good for something.” Shifting her a little, he reached into the pocket of his waistcoat and glanced at his watch. “We’ll return to the dining hall in approximately a quarter hour. By that time the calves’ heads should be removed.” Lillian made a face. “I hate English food,” she exclaimed. “All those jellies and blobs, and wiggly puddings, and the game that is aged until by the time it’s served, it is older than I am, and—” She felt a tremor of amusement run through him, and she turned in the half circle of his arm. “What is so amusing?” “You’re making me afraid to go back to my own dinner table.” “You should be!” she replied emphatically, and he could no longer restrain a deep laugh.

When Ole Kirk Kristiansen established the company name LEGO in 1934, it was a fortunate play on words. The entrepreneur had been inspired by the Danish phrase "leg godt" - "play well." He took the beginning of each respective word and made what he considered to be a pleasant-sounding, imaginary word out of them. The company owner was unaware that as the first person present singular of the verb legere, "lego" is also the Latin word for "I assemble" - and therefore completely appropriate for the modularity of the company's later invention, the LEGO brick.

Acceptance" is a very important word in our lives. People drive themselves into madness and death thinking about the chasm that exists between their ideals and their actual reality that they are living. There must be a balance between improvement of one's self and one's circumstances and the acceptance of reality. There is a beautiful dance that one must learn, which involves embracing the reality of your life as you would embrace a Latin dance partner on the ballroom floor, and moving that partner (your reality) in graceful strides, towards where you want to be situated, on that dance floor. If you dance with no partner (your current reality), you will arrive at your destination empty. Empty. That is, if you ever arrive at all. But when you dance with that partner, embracing and accepting it for all of its flaws and its redeeming qualities, you will be able to move across that dance floor as a full, whole person. Wherever you end up stopping in that ballroom, you will stop there as a whole person, not an empty one. So, accept the mistakes that have been done unto you and the mistakes that you have done. Accept the fact that you didn't grow up perfectly and you are not perfect now. Accept, embrace, love the people who are given to you to love. And love yourself just as you are.

For Mercier, it was the ceremony of the mass that eased his soul: the sweetish smoke trailing from the censer, the ringing of the bell, the Latin incantations of the priest. In Warsaw, he attended early mass, at a small church near the apartment, once or twice a month, confessing to his vocational sins – duplicity, for example – in the oblique forms provided by Catholic protocol. He’d grown up an untroubled believer, but the war had put an end to that. What God could permit such misery and slaughter? But, in time, he had found consolation in a God beyond understanding and prayed for those he’d lost, for those he loved, and for an end to evil in the world.” ― Alan Furst, The Spies of Warsaw

A Puritan twist in our nature makes us think that anything good for us must be twice as good if it's hard to swallow. Learning Greek and Latin used to play the role of character builder, since they were considered to be as exhausting and unrewarding as digging a trench in the morning and filling it up in the afternoon. It was what made a man, or a woman -- or more likely a robot -- of you. Now math serves that purpose in many schools: your task is to try to follow rules that make sense, perhaps, to some higher beings; and in the end to accept your failure with humbled pride. As you limp off with your aching mind and bruised soul, you know that nothing in later life will ever be as difficult. What a perverse fate for one of our kind's greatest triumphs! Think how absurd it would be were music treated this way (for math and music are both excursions into sensuous structure): suffer through playing your scales, and when you're an adult you'll never have to listen to music again. And this is mathematics we're talking about, the language in which, Galileo said, the Book of the World is written. This is mathematics, which reaches down into our deepest intuitions and outward toward the nature of the universe -- mathematics, which explains the atoms as well as the stars in their courses, and lets us see into the ways that rivers and arteries branch. For mathematics itself is the study of connections: how things ideally must and, in fact, do sort together -- beyond, around, and within us. It doesn't just help us to balance our checkbooks; it leads us to see the balances hidden in the tumble of events, and the shapes of those quiet symmetries behind the random clatter of things. At the same time, we come to savor it, like music, wholly for itself. Applied or pure, mathematics gives whoever enjoys it a matchless self-confidence, along with a sense of partaking in truths that follow neither from persuasion nor faith but stand foursquare on their own. This is why it appeals to what we will come back to again and again: our **architectural instinct** -- as deep in us as any of our urges.

FIRST WAVE: SELF TRUST The first wave, Self Trust, deals with the confidence we have in ourselves—in our ability to set and achieve goals, to keep commitments, to walk our talk—and also with our ability to inspire trust in others. The whole idea is to become, both to ourselves and to others, a person who is worthy of trust. The key principle underlying this wave is credibility, which comes from the Latin root credere, meaning “to believe.” In this first wave, we will explore the “4 Cores of Credibility,” where we will discuss ways to increase our credibility in order to firmly establish trust with ourselves and with others. The end result of high character and high competence is credibility, judgment, and influence.

There is however, one reason why the arts so rarely accept a mission that IS within the power of the Church to alter. In the past, the densest or richest location of baptised art has been the Liturgy. The sacred use of the arts in the liturgical setting has provided inspiration for artists engaged in producing artworks for contexts outside the Liturgy, for consumption beyond the limits of the visible Church. In the modern West, the Muses have largely fled the liturgical amphitheatre, which instead is given over to banal language, poor quality popular music, and, in new and re-designed churches, a nugatory or sometimes totally absent visual art. This deprives the wider Christian mission of the arts of essential nourishment. Where would the poetry of Paul Claudel be without the Latin Liturgy? Or John Tavener's music without the Orthodox Liturgy? Where would be the entire tradition of representational art in the West without the liturgical art of which until the seventeenth century at least remained at its heart? We need today to summon back the Muses to the sacred foyer of the Church, to be at home again at that hearth.

Even if there is no connection between diversity and international influence, some people would argue that immigration brings cultural enrichment. This may seem to be an attractive argument, but the culture of Americans remains almost completely untouched by millions of Hispanic and Asian immigrants. They may have heard of Cinco de Mayo or Chinese New Year, but unless they have lived abroad or have studied foreign affairs, the white inhabitants of Los Angeles are likely to have only the most superficial knowledge of Mexico or China despite the presence of many foreigners. Nor is it immigrants who introduce us to Cervantes, Puccini, Alexander Dumas, or Octavio Paz. Real high culture crosses borders by itself, not in the back pockets of tomato pickers, refugees, or even the most accomplished immigrants. What has Yo-Yo Ma taught Americans about China? What have we learned from Seiji Ozawa or Ichiro about Japan? Immigration and the transmission of culture are hardly the same thing. Nearly every good-sized American city has an opera company, but that does not require Italian immigrants. Miami is now nearly 70 percent Hispanic, but what, in the way of authentic culture enrichment, has this brought the city? Are the art galleries, concerts, museums, and literature of Los Angeles improved by diversity? Has the culture of Detroit benefited from a majority-black population? If immigration and diversity bring cultural enrichment, why do whites move out of those very parts of the country that are being “enriched”? It is true that Latin American immigration has inspired more American school children to study Spanish, but fewer now study French, German, or Latin. If anything, Hispanic immigration reduces what little linguistic diversity is to be found among native-born Americans. [...] [M]any people study Spanish, not because they love Hispanic culture or Spanish literature but for fear they may not be able to work in America unless they speak the language of Mexico. Another argument in favor of diversity is that it is good for people—especially young people —to come into contact with people unlike themselves because they will come to understand and appreciate each other. Stereotyped and uncomplimentary views about other races or cultures are supposed to crumble upon contact. This, of course, is just another version of the “contact theory” that was supposed to justify school integration. Do ex-cons and the graduates—and numerous dropouts—of Los Angeles high schools come away with a deep appreciation of people of other races? More than half a century ago, George Orwell noted that: 'During the war of 1914-18 the English working class were in contact with foreigners to an extent that is rarely possible. The sole result was that they brought back a hatred of all Europeans, except the Germans, whose courage they admired.

José Martí, born on January 28, 1853, is known as the George Washington of Cuba, or is perhaps better identified with Simon Bolivar, the liberator of South America. Although he admired and visited the United States, José Martí realized that not only would he have to free his country from Spain, he would also have to prevent the United States from interfering in Cuba’s internal affairs. By his admirers, he was considered a great Latin American intellectual, and his newspaper Patria became the voice of “Cuban Independence.” After years of suppression, the Cuban struggle for independence began in 1868. At the age of 17, José Martí was jailed in Cuba and then exiled to Spain because of his revolutionary activities. It was during this time in his life that he published a pamphlet describing the atrocities he had experienced while being imprisoned in Cuba. He strongly believed in racial equality and denounced the horrors of people having to live under a dictatorship. In 1878, Martí was allowed to return to Cuba under a general amnesty, but was once again banished from Cuba after being accused of conspiracy against the Spanish authorities. From 1881 to 1895, he lived and worked in New York City. Moving to Florida, he organized forces for a three-pronged attack supporting the smoldering Cuban War of Independence. It was during one of the first battles that he was killed at the Battle of Dos Ríos in Cuba, and thus became a national hero and martyr when he was only 42 years old.

A serious reader of fiction is an adult who reads, let's say, two or more hours a night, three or four nights a week, and by the end of two or three weeks he has read the book. A serious reader is not someone who reads for half an hour at a time and then picks the book up again on the beach a week later. While reading, serious readers aren't distracted by anything else. They put the kids to bed, and then they read. They don't watch TV intermittently or stop off and on to shop on-line or to talk on the phone. There is, indisputably, a rapidly diminishing number of serious readers, certainly in America. Of course, the cause is something more than just the multitudinous distractions of contemporary life. One must acknowledge the triumph the screen. Reading, whether serious or frivolous, doesn't stand a chance against the screen: first, the movie screen, then the television screen, now the proliferating computer screen, one in your pocket, one on your desk, one in your hand, and soon one imbedded between your eyes. Why can't serious reading compete? Because the gratifications of the screen are far more immediate, graspable, gigantically gripping. Alas, the screen is not only fantastically useful, it's fun, and what beats fun? There was never a Golden Age of Serious Reading in America but I don't remember ever in my lifetime the situation being as sad for books – with all the steady focus and uninterrupted concentration they require – as it is today. And it will be worse tomorrow and even worse the day after. My prediction is that in thirty years, if not sooner, there will be just as many people reading serious fiction in America as now read Latin poetry. A percentage do. But the number of people who find in literature a highly desirable source of sustaining pleasure and mental stimulation is sadly diminished.

Everything and Nothing* There was no one inside him; behind his face (which even in the bad paintings of the time resembles no other) and his words (which were multitudinous, and of a fantastical and agitated turn) there was no more than a slight chill, a dream someone had failed to dream. At first he thought that everyone was like him, but the surprise and bewilderment of an acquaintance to whom he began to describe that hollowness showed him his error, and also let him know, forever after, that an individual ought not to differ from its species. He thought at one point that books might hold some remedy for his condition, and so he learned the "little Latin and less Greek" that a contemporary would later mention. Then he reflected that what he was looking for might be found in the performance of an elemental ritual of humanity, and so he allowed himself to be initiated by Anne Hathaway one long evening in June. At twenty-something he went off to London. Instinctively, he had already trained himself to the habit of feigning that he was somebody, so that his "nobodiness" might not be discovered. In London he found the calling he had been predestined to; he became an actor, that person who stands upon a stage and plays at being another person, for an audience of people who play at taking him for that person. The work of a thespian held out a remarkable happiness to him—the first, perhaps, he had ever known; but when the last line was delivered and the last dead man applauded off the stage, the hated taste of unreality would assail him. He would cease being Ferrex or Tamerlane and return to being nobody. Haunted, hounded, he began imagining other heroes, other tragic fables. Thus while his body, in whorehouses and taverns around London, lived its life as body, the soul that lived inside it would be Cassar, who ignores the admonition of the sibyl, and Juliet, who hates the lark, and Macbeth, who speaks on the moor with the witches who are also the Fates, the Three Weird Sisters. No one was as many men as that man—that man whose repertoire, like that of the Egyptian Proteus, was all the appearances of being. From time to time he would leave a confession in one corner or another of the work, certain that it would not be deciphered; Richard says that inside himself, he plays the part of many, and Iago says, with curious words, I am not what I am. The fundamental identity of living, dreaming, and performing inspired him to famous passages. For twenty years he inhabited that guided and directed hallucination, but one morning he was overwhelmed with the surfeit and horror of being so many kings that die by the sword and so many unrequited lovers who come together, separate, and melodiously expire. That very day, he decided to sell his theater. Within a week he had returned to his birthplace, where he recovered the trees and the river of his childhood and did not associate them with those others, fabled with mythological allusion and Latin words, that his muse had celebrated. He had to be somebody; he became a retired businessman who'd made a fortune and had an interest in loans, lawsuits, and petty usury. It was in that role that he dictated the arid last will and testament that we know today, from which he deliberately banished every trace of sentiment or literature. Friends from London would visit his re-treat, and he would once again play the role of poet for them. History adds that before or after he died, he discovered himself standing before God, and said to Him: I , who have been so many men in vain, wish to be one, to be myself. God's voice answered him out of a whirlwind: I, too, am not I; I dreamed the world as you, Shakespeare, dreamed your own work, and among the forms of my dream are you, who like me, are many, yet no one.

It was 1996, and the word “appropriation” never occurred to either of them. They were drawn to these references because they loved them, and they found them inspiring. They weren’t trying to steal from another culture, though that is probably what they did. Consider Mazer in a 2017 interview with Kotaku, celebrating the twentieth-anniversary Nintendo Switch port of the original Ichigo: kotaku: It is said that the original Ichigo is one of the most graphically beautiful low-budget games ever made, but its critics also accuse it of appropriation. How do you respond to that? mazer: I do not respond to that. kotaku: Okay…But would you make the same game if you were making it now? mazer: No, because I am a different person than I was then. kotaku: In terms of its obvious Japanese references, I mean. Ichigo looks like a character Yoshitomo Nara could have painted. The world design looks like Hokusai, except for the Undead level, which looks like Murakami. The soundtrack sounds like Toshiro Mayuzumi… mazer: I won’t apologize for the game Sadie and I made. [Long pause.] We had many references—Dickens, Shakespeare, Homer, the Bible, Philip Glass, Chuck Close, Escher. [Another long pause.] And what is the alternative to appropriation? kotaku: I don’t know. mazer: The alternative to appropriation is a world in which artists only reference their own cultures. kotaku: That’s an oversimplification of the issue. mazer: The alternative to appropriation is a world where white European people make art about white European people, with only white European references in it. Swap African or Asian or Latin or whatever culture you want for European. A world where everyone is blind and deaf to any culture or experience that is not their own. I hate that world, don’t you? I’m terrified of that world, and I don’t want to live in that world, and as a mixed-race person, I literally don’t exist in it. My dad, who I barely knew, was Jewish. My mom was an American-born Korean. I was raised by Korean immigrant grandparents in Koreatown, Los Angeles. And as any mixed-race person will tell you—to be half of two things is to be whole of nothing. And, by the way, I don’t own or have a particularly rich understanding of the references of Jewishness or Koreanness because I happen to be those things. But if Ichigo had been fucking Korean, it wouldn’t be a problem for you, I guess?

Then he arrived. And with (whatever it may have been originally) an idea of his own. This had maddened Americans. Made them crazy, like some consciousness-altering brew rendering circles square and squares oblong. Look at a thing dead on, and flat not see it. See a thing, quite literally, that wasn't there. If our government decided to hate him for declining to play the Latin cipher, our people with small inspiration decided to hate him for stuff they would just make up, without, I think, knowing they were fabricating rationales for their reflexive antipathies. Their comments would quite frequently make them look silly, but not to each other because they believed what they were saying no matter how baseless. Nice people, even, said these things. Not lying, because I believe they thought they were telling the truth.

My kids are my ability to achieve my big dreams, not my disability. For those brief moments, I have changed my beliefs and perceptions about what is possible for me even with a heap of kids, are when I've put dampeners on my dreams, stopped making an effort and metaphorically thrown in the towel. Because when you believe you're disabled, you take away your power, you stop feeling able and being able is the Latin root meaning of power. When you feel like your kids, or your circumstances make you dis-abled for your dreams, you feel powerless... You don't feel able and when you don't feel able, you don't do what's needed to breakthrough. You don't take the actions. You don't even try.

O wayfarer! Yearn finds quench, not in meadows, seashores or altitude of mountain peaks; but when being becomes dance.

O wayfarer! Yearn finds quench, not in meadows, seashores or altitude of mountain peaks; but when being and dance are one.

PS. Docendo discimus. (Latin. By teaching, we learn.)

Our culinary memory is short and we live in a very different food world now. Chances are you won’t remember the late nineties as a time when restaurants were basically inaccessible to most Americans, but it was. Our dining culture was, by and large, bifurcated. On one side, you had prohibitively expensive, mostly French-inspired restaurants with excellent service and comfortable dining rooms. On the other, there were far more affordable options serving the cuisines of Asia, Africa, and Latin America in humble settings—a genre that’s been lumped together as “ethnic food” since the 1960s. But as delicious as those places could be, they were usually locked into the traditions and time periods from which their immigrant proprietors first came. There really wasn’t a place where you could find something in between: innovative cuisine that was neither married to France nor fixed to the recipes of the motherland, made with high-quality ingredients, and available for, say, twenty bucks. I could tell that race played a major role in America’s slow uptake on this concept, which only made it more personal for me.* 9

Power Up is from the Latin “potentia sursum”. It literally means “super potential”. PowerUp Your Life to actualize your potential.

Demonstrate "potentia sursum" through living a powered up life and let it be known that you are committed to doing your very best, every day, for full attainment of energy, work, and love, for yourself and in service to the world.

Your commitment to living a full life should begin each day at your Prime Time.

we stood before our Giant’s and fell at their feet and while many of us fell at their feet we yelled out to them through the falling rain “Carpi Diem,” which is Latin for “Seize the day.” -Resiliency the Spirit With In

Inspired by its views of both the Atlantic and Lake Worth, Marjorie planned to call her home Mar-A-Lago from the Latin, meaning 'from sea to lake.

Per aspera ad astra

I leave this as a declaration of intent, so no one will be confused. One: "Si vis pacem, para bellum." Latin. Boot Camp Sergeant made us recite it like a prayer. "Si vis pacem, para bellum - If you want peace, prepare for war." Two: Frank Castle is dead. He died with his family. Three: in certain extreme situations, the law is inadequate. In order to shame its inadequacy, it is necessary to act outside the law. To pursue... natural justice. This is not vengeance. Revenge is not a valid motive, it's an emotional response. No, not vengeance. Punishment.

My father was a man of iron will. He had a red beard and eyes like caves. He married my mother sensibly for the triple joy of her widowhood, the three estates, but he was concerned - as an English country gentleman and an epitome of the chivalric virtues - with the making of a son. Having heard well of the giant's child-inspiring powers, my father takes my mother by the hand and leads her up to him the night before their wedding. It had been a hot day, the hottest day that any man could remember, the skylarks swooning in the sticky air, milk turning sour in the cows' udders. At the end of that hottest day now it is suddenly Midsummer Eve and the giant stands out bold and wonderful and monstrous on his long green Dorset hill, the moon at the full above his knobbled club. My father lays my mother down on the giant's thistle, in the modest shade of Mr Wiclif's burgeoning fig tree. 'Dear hart,' he says, taking off his spurs and his liripipe hat, 'I shall require an heir.' If ever widow woman blushed then my mother blushed hot when she saw my father unbuttoned above her in the moonlight. 'My womb,' she says, 'is empty.' My father engages the key in the lock. It is well-oiled. He turns and enters and makes himself at home. 'I have been told,' he says, 'that any true woman,' he says, 'childless,' he adds, 'who lies,' he says, 'on the Cerne giant, - my father takes a shuddering juddering breath - 'conceives without fail,' he explains. My father goes on, without need of saying. It is sixty yards if it is an inch from the top to the toe of the giant of Cerne Abbas. The creature's club alone must be every bit of forty yards. 'O Gog,' says my mother eventually. 'O Gog, O Gog, O Gog.' 'I do believe,' says my father, 'Magog.' Now, in the moment of my conception, as a star falls into my mother's left eye, as the wind catches its breath, as the little hills skip for joy, and the moon hides her face behind a cloud - a bit of local history. When St Augustine came calling in those parts the people of Cerne tied a tail to his coat and whipped him out of their valley. The saint was furious. He got down on his knees and prayed to God to give tails to all the children that were born in Dorset. 'Right,' said the Omnipotence. This went on, tails, tails, tails, tails, until the folk regretted their pagan manners. When they expressed their regret, St Austin came back and founded the abbey, calling it Cernal because he was soon seeing his visions there - from the Latin, 'cerno', I see, and the Hebrew, 'El, God. That's enough history. I prefer mystery.

Ultimately, beyond the primordial, brutish labels of man-made institutions, true practical religion of the civilized society must bring oneness. This very process of unification without bigotry is what makes religion, religion, for the word religion comes from the latin "religare", which means "to bind", that is to unify humanity.

If your work is ordinary, there’s a solution – add ‘extra’ to ordinary. Maybe you feel you’re an ordinary person doing an ordinary job in an ordinary way. Decide to do something ‘extra’, and you’re on your way to becoming ‘extra’ ordinary. ‘Extra’ is from the Latin, meaning ‘beyond, better than the ordinary.' It’s not enough to fulfill the brief. Be generous. Go above and beyond what’s expected of you.

The generality of Mexicans refused the constitution, and the commander of the Spanish army in Mexico, General Agustin de Iturbide united with General Vicente Guerrero, commander of the insurgents (what remained of revolutionary forces launched by Fr. Hidalgo in 1810), in declaring the independence of Mexico. Thus, unlike the rest of Latin America, where independence came as the result of direct assaults on altar and throne by men like Bolivar, it was brought about in Mexico to defend them. Iturbide and Guerrero produced on February 24, 1821 the Plan of Iguala (from the town where it was proclaimed). This plan had three guarantees: 1) Mexico was to be an independent monarchy—under a Spanish or some other European prince; 2) Native and foreign-born Spanish were to be equal; and 3) Catholicism was to be the religion of the state and no others were to be tolerated. The following August 24, the Viceroy, Don Juan O’Donoju surrendered, and Mexico became an independent empire. No European prince would accept the throne, however, and so Iturbide became Emperor Agustin I on May 19, 1822. But influences from the north opposed the idea of a Catholic Mexican Empire; these inspired certain elements to back Antonio Lopez de Santa Ana against Agustin, who was deposed on March 19, 1823, and went into exile. He returned a year later, attempted unsuccessfully to regain the throne, and was executed. The next year saw the appointment of Joel Poinsett as first American Consul in Mexico. In this country, Poinsett is remembered as the importer of Poinsettia, which is so much a part of our Christmas celebrations. But in Mexico he is recalled as the originator of “Poinsettismo,” as the interference of the United States in the internal affairs of Mexico is often called there. He introduced the Masonic lodges into Mexico, and helped organize and strengthen the anti-clerical Liberal Party. From that day to this, the Mexican Liberals have always looked to the United States for assistance in battling the pro-Catholic Conservatives.

Chef Fany Gerson opened Dough in Bed-Stuy in 2010, and her big, billowy, brioche-style doughnuts have spread across the city and are now available at dozens of third-party locations (including Smorgasburg, which is where we first sampled the bad boys). With delectable flavors like blood orange, hibiscus, and toasted coconut, inspired by Fany's Latin American heritage, to know Dough is to love it. Naturally, Anarchy in a Jar supports local and family farmers- this is Brooklyn! A lesser credo just wouldn't cut it. The small-batch condiments company was started in 2009 by Laena McCarthy and includes deliciously eclectic offerings like grapefruit & smoked salt marmalade, cherry balsamic jam, and beer mustard.

Politics: “Poli” a Latin word meaning “many”; and "tics" meaning “bloodsucking creatures”. -Robin Williams (1951 – 2014)

The family who prays together, stays together,” they taught. The Prashaws also fought when we prayed. We learned our catechism at Catholic schools. The stories of saints inspired us. St. Francis, a lover of the poor and animals, was an early favourite of mine. A nun might whack the back of our heads when we slouched while kneeling. Marty endured a rap on the knuckles for writing with his left hand. Lefties were deemed “children of the devil;” in classical Latin, the word left is “sinister.” Still, all in all, it was not a bad thing to be taught one’s life had meaning, a purpose. Being good mattered. Life was about treating one another well.

Homo sapiens. That's a label we invented for ourselves, of course: Latin for 'wise man'. It may be hoped that we will eventually either evolve into something worthier of that appellation or aspire to an even better one. How about Gens unanima - 'harmonious race' or ' a people of one spirit'?

The fate of the books and all their vast numbers, is epitomized in the greatest library in the ancient world, a library located not in Italy but in Alexandria, the capital of Egypt and the commercial hub of the Eastern Mediterranean. The city had many tourist attractions, including an impressive theater and red light district. But visitors always took note of something quite exceptional, in the center of the city, at the lavish site known as "the museum" most of the intellectual inherits of Greek, Latin, Babylonian, Egyptian and Jewish cultures ad been assembled at enormous costs and carefully archived for researched. Starting as early as 300BCE, the Ptolemaic Kings who ruled Alexandria had the inspired idea of luring leading scholars, scientists and poets to their city by offering them life appointments at their museum...The recipients of this largess established remarkably high intellectual standards. Euclid developed his geometry in Alexandria, Archimedes discovered Pi and laid the foundation of calculus.

Live your own life, for you will die your own death. Latin Proverb

For Plato, of course, there existed beyond the realm of ordinary sense-experience the world of Forms, for which outward, earthly appearances—including symbols such as language itself—were mere and meager representations. Words were simply incapable of accurately describing or illustrating this divine realm. The logic and reason of the Aristotelians occupied its true home only in the sphere of sense-experience—in what Pletho had nonchalantly dismissed as the world of oysters and embryos. The Aristotelian philosophy on which western Christianity depended therefore offered a misguided point of departure in any quest for inexpressible truths and eternal verities. The clumsy wordings of dogmas, liturgies, creeds: such things were mere shadow puppets on the wall of the Platonic cave; debates framed by Aristotelian philosophy could never hope to approach or capture their proper forms. On the other hand, Plato’s philosophy, with its belief in a unity embracing scattered differences, offered a more promising chance to find a concord between the Greeks and the Latins. Bessarion and Traversari duly worked out a compromise on the fraught question of the Procession of the Holy Spirit. They came up with the argument that since the saints in both the East and West had been inspired by the same Holy Spirit, it scarcely mattered whether this Holy Spirit proceeded from both the Father and the Son or simply from the Father. It was, after all, merely a matter of semantics—of whether one believed that “from” (εκ) and “through” (διά) meant the same thing. As Bessarion put it in the context of another dispute, the two parties “agreed in substance and differed only in words.

What is inspiration? The word “inspire” comes from the Latin word “inspirare,” which means “to breathe upon or to breathe into.” Breath is life. To inspire, therefore, is to breathe life into. Inspiration breathes life into us. Success may be “ninety-nine percent perspiration” and only one percent inspiration. But remember this: It is the one percent inspiration that starts your engines. It is that one percent that ignites the dormant fires within you. Once you have inspired yourself, then you must perspire. Perspire profusely in body and mind, and keep the fires of inspiration burning. If you don’t do that, then those burning fires will become dormant ashes forever

Martí still had to consider himself lucky, since in 1871 eight medical students had been executed for the alleged desecration of a gravesite in Havana. Those executed were selected from the student body by lottery, and they may not have even been involved in the desecration. In fact, some of them were not even in Havana at the time, but it quickly became obvious to everyone that the Spanish government was not fooling around! Some years later Martí studied law at the Central University of Madrid (University of Zaragoza). As a student he started sending letters directly to the Spanish Prime Minister insisting on Cuban autonomy, and he continued to write what the Spanish government considered inflammatory newspaper editorials. In 1874, he graduated with a degree in philosophy and law. The following year Martí traveled to Madrid, Paris and Mexico City where he met the daughter of a Cuban exile, Carmen Zayas-Bazán, whom he later married. In 1877 Martí paid a short visit to Cuba, but being constantly on the move he went on to Guatemala where he found work teaching philosophy and literature. In 1878 he published his first book, Guatemala, describing the beauty of that country. The daughter of the President of Guatemala had a crush on Martí, which did not go unnoticed by him. María was known as “La Niña de Guatemala,” the child of Guatemala. She waited for Martí when he left for Cuba, but when he returned he was married to Carmen Zayas-Bazán. María died shortly thereafter on May 10, 1878, of a respiratory disease, although many say that she died of a broken heart. On November 22, 1878, Martí and Carmen had a son whom they named José Francisco. Doing the math, it becomes obvious as to what had happened…. It was after her death that he wrote the poem “La Niña de Guatemala.” The Cuban struggle for independence started with the Ten Years’ War in 1868 lasting until 1878. At that time, the Peace of Zanjón was signed, giving Cuba little more than empty promises that Spain completely ignored. An uneasy peace followed, with several minor skirmishes, until the Cuban War of Independence flared up in 1895. In December of 1878, thinking that conditions had changed and that things would return to normal, Martí returned to Cuba. However, still being cautious he returned using a pseudonym, which may have been a mistake since now his name did not match those in the official records. Using a pseudonym made it impossible for him to find employment as an attorney. Once again, after his revolutionary activities were discovered, Martí was deported to Spain. Arriving in Spain and feeling persecuted, he fled to France and continued on to New York City. Then, using New York as a hub, he traveled and wrote, gaining a reputation as an editorialist on Latin American issues. Returning to the United States from his travels, he visited with his family in New York City for the last time. Putting his work for the revolution first, he sent his family back to Havana. Then from New York he traveled to Florida, where he gave inspiring speeches to Cuban tobacco workers and cigar makers in Ybor City, Tampa. He also went to Key West to inspire Cuban nationals in exile. In 1884, while Martí was in the United States, slavery was finally abolished in Cuba. In 1891 Martí approved the formation of the Cuban Revolutionary Party.

Traditionally, Apollo and the nine goddesses known as the Muses make their home on the mountain in Greece called Parnassus. Believed to inspire creativity, they are Calliope (epic poetry), Clio (history), Euterpe (lyric poetry), Thalia (comedy and pastoral poetry), Melpomene (tragedy), Terpsichore (dance), Erato (love poetry), Polyhymnia (sacred poetry), and Urania (astronomy). Exclusively deities of performance, their blessing was solicited before any play or public recitation. (There were no Muses for sculptors, painters, and architects, regarded in Attic Greece as mere workmen, too lowly for divine patronage.) During the eighteenth century, students from the religious schools of the Latin Quarter, panting up this hill at the southern limit of Paris, may have looked back at the city spreading along the banks of the Seine and thought themselves masters of the known world. Through the haze of wine purchased from the locals, this unpromising landfill, formed from the rubble of urban expansion and fertilized by the corpses of the nameless dead, could have felt like their own Parnassus, an illusion they celebrated by reciting or improvising verse. Still then nameless, the hill first appeared on a map, the Lutetia Parisiorum vulgo of Johannes Janssonius, in 1657, which identified the track leading to its summit as the Chemin d’Enfer: the Road to Hell. The district looked doomed to remain a wasteland until, in 1667, Louis XIV chose to build an observatory there. (Charles II of England, envious, immediately commissioned his own for Greenwich.) Sometime during the next fifty years, it became officially Montparnasse, since in 1725 the city annexed it under that name. A road was laid along the ridge. Tunneling below the unstable topsoil, quarrymen mined the fine-grained limestone from which a greater Paris would be built, and where soon the Muses, though far from home, would again be heard.

The other kids threw bars of soap at her, pushed one another into her path and wrote graffiti about her on the bathroom walls. In return, she cursed them out in Latin.

Out of all the palace's awe-inspiring interiors, the Round Library had always been Jasmine's favorite. A marble floor painted with a lotus-flower motif gave way to three tiers of balconies lined with books, stretching up to an arched ceiling where a bronze chandelier flooded the circular space with candlelight. Bound books had still been a novelty when the sultan was young, but in the intervening years, he'd amassed a collection of nearly three thousand titles from across the East. This was where Jasmine had come to fill in the gaps in her knowledge while her nonroyal peers were sent off to school. It was thanks to the books in this room that she'd learned to read and write in Greek and Latin along with Persian and Arabic, that she could look at an astrolabe and point out the different planets in the universe. It was where she'd fallen in love with studying maps and imagining other lands, far from here

If we want our men to dance, we have to inspire them. Not with blatant sexuality. That is too common, too little. But with something more, something bigger, something that will give them a reason to want to dance.

All languages that derive from Latin form the word “compassion” by combining the prefix meaning “with” (com-) and the root meaning “suffering” (Late Latin, passio). In other languages—Czech, Polish, German, and Swedish, for instance—this word is translated by a noun formed of an equivalent prefix combined with the word that means “feeling” (Czech, sou-cit; Polish, współ-czucie; German, Mit-gefühl; Swedish, med-känsla). In languages that derive from Latin, “compassion” means: we cannot look on coolly as others suffer; or, we sympathize with those who suffer. Another word with approximately the same meaning, “pity” (French, pitié; Italian, pietà; etc.), connotes a certain condescension towards the sufferer. “To take pity on a woman” means that we are better off than she, that we stoop to her level, lower ourselves. That is why the word “compassion” generally inspires suspicion; it designates what is considered an inferior, second-rate sentiment that has little to do with love. To love someone out of compassion means not really to love. In languages that form the word “compassion” not from the root “suffering” but from the root “feeling,” the word is used in approximately the same way, but to contend that it designates a bad or inferior sentiment is difficult. The secret strength of its etymology floods the word with another light and gives it a broader meaning: to have compassion (co-feeling) means not only to be able to live with the other’s misfortune but also to feel with him any emotion—joy, anxiety, happiness, pain. This kind of compassion (in the sense of soucit, współczucie, Mitgefühl, medkänsla) therefore signifies the maximal capacity of affective imagination, the art of emotional telepathy. In the hierarchy of sentiments, then, it is supreme.

Nothing’s secure. Gold’s only lead When you stop to think. On your way up, show consideration To the ones you meet on their way down. The Latin root of 'condescension' Means we all sink.

I’M SITTING at the counter in my favorite New York diner, tucking into eggs over easy with hash browns—very English, the breakfast fry-up, but very American, too. I’m washing it down with cranberry juice—caffeine is probably the only vice I don’t have—and someone turns on the radio. Most of the time, I don’t hear music. My brain just tunes it out. We’re all bombarded with some sort of music on a daily basis—in shops, TV commercials, restaurants, lifts—most of it simply noise pollution, deadening us to the real joy of music. So I only listen when I really want to. But the Puerto Rican waitress has turned on a Spanish channel, and a seductive salsa rhythm seeps into the room. It’s a charanga band—a traditional group that uses flute and violin over the standard latin rhythm section of congas, bongos, and timbales—and now I’m half-listening. Then the violinist takes a solo, and I’m hooked. He’s a great, inspired player. The band is playing a simple three-chord vamp, and he follows the chords closely, and yet still manages to come up with witty, ingenious, melodic twists. And the way he plays with the time! Dragging a phrase, and then ending it right on the beat. Setting up syncopations—accents that go against the beat—and then turning them around, playing them backwards. Then he hits an unexpected high note, and it’s like a shaft of light going right through my body, filling me with warmth. Without even thinking, I cry out—“Yeah!” or “All right!” or something—and I marvel at the way that music, after all these years, can still surprise me. The guy next to me just goes on munching his cheeseburger. But something special has happened, even if I’m the only one who knows it. The band on the radio are most likely second- or third-generation Puerto Ricans who were raised uptown, way uptown—in the Bronx—in a different world from me. But through the music, they’ve connected with an Englishman way downtown, in a way that would otherwise never happen.

Nennius tells us, what Gildas omits, the name of the British soldier who won the crowning mercy of Mount Badon, and that name takes us out of the mist of dimly remembered history into the daylight of romance. There looms, large, uncertain, dim but glittering, the legend of King Arthur and the Knights of the Round Table. Somewhere in the Island a great captain gathered the forces of Roman Britain and fought the barbarian invaders to the death. Around him, around his name and his deeds, shine all that romance and poetry can bestow. Twelve battles, all located in scenes untraceable, with foes unknown, except that they were heathen, are punctiliously set forth in the Latin of Nennius. Other authorities say, “No Arthur; at least, no proof of any Arthur.” It was only when Geoffrey of Monmouth six hundred years later was praising the splendours of feudalism and martial aristocracy that chivalry, honour, the Christian faith, knights in steel and ladies bewitching, are enshrined in a glorious circle lit by victory. Later these tales would be retold and embellished by the genius of Mallory, Spenser, and Tennyson. True or false, they have gained an immortal hold upon the thoughts of men. It is difficult to believe it was all an invention of a Welsh writer. If it was he must have been a marvellous inventor. Modern research has not accepted the annihilation of Arthur. Timidly but resolutely the latest and best-informed writers unite to proclaim his reality. They cannot tell when in this dark period he lived, or where he held sway and fought his battles. They are ready to believe however that there was a great British warrior, who kept the light of civilisation burning against all the storms that beat, and that behind his sword there sheltered a faithful following of which the memory did not fail. All four groups of the Celtic tribes which dwelt in the tilted uplands of Britain cheered themselves with the Arthurian legend, and each claimed their own region as the scene of his exploits. From Cornwall to Cumberland a search for Arthur’s realm or sphere has been pursued.The reserve of modern assertions is sometimes pushed to extremes, in which the fear of being contradicted leads the writer to strip himself of almost all sense and meaning. One specimen of this method will suffice: "It is reasonably certain that a petty chieftain named Arthur did exist, probably in South Wales. It is possible that he may have held some military command uniting the tribal forces of the Celtic or highland zone or part of it against raiders and invaders (not all of them necessarily Teutonic). It is also possible that he may have engaged in all or some of the battles attributed to him; on the other hand, this attribution may belong to a later date." This is not much to show after so much toil and learning. Nonetheless, to have established a basis of fact for the story of Arthur is a service which should be respected. In this account we prefer to believe that the story with which Geoffrey delighted the fiction-loving Europe of the twelfth century is not all fancy. If we could see exactly what happened we should find ourselves in the presence of a theme as well founded, as inspired, and as inalienable from the inheritance of mankind as the Odyssey or the Old Testament. It is all true, or it ought to be; and more and better besides. And wherever men are fighting against barbarism, tyranny, and massacre, for freedom, law, and honour, let them remember that the fame of their deeds, even though they themselves be exterminated, may perhaps be celebrated as long as the world rolls round. Let us then declare that King Arthur and his noble knights, guarding the Sacred Flame of Christianity and the theme of a world order, sustained by valour, physical strength, and good horses and armour, slaughtered innumerable hosts of foul barbarians and set decent folk an example for all time.

Frontinus, in his treatis On the Water Supply of the City of Rome, writes that “the memory of the springs is still considered holy and revered; indeed they are believed to restore sick bodies to health, such as the spring of the Camenae, and … that of Iuturna.”20 A question arises, however, as to why the Vestals did not fetch their daily water at the closer lacus Iuturnae. Two reasons come to mind. First, the Vestals, walking through the city to fetch water, must have made quite an impression. They were recognizably different from other women, but at the same time, they were doing women’s work. Most likely, fetching water would be only one aspect of their daily duties, but it was one that took them outdoors, thus making them visible. Since it was part of a routine, the water fetching might have taken place at the same time every day. Second, before its springs fed into a marble basin, the lacus Iuturnae was, as the Latin word lacus suggests, a pool. The whole forum Romanum area was prone to floods, and one can but imagine rather swampy and unhealthy conditions. This fact did not, however, seem to impede the water quality of the Iuturna. Like the Camenae, according to Frontinus, it had salutary effects. According to tradition, the Dioscuri, Castor and Pollux, watered their horses at the Iuturna. Indeed, like any creature, thirsty horses drink stagnant water when no other water is available, and so the poor condition of the water might not have been a deterrent. The Camenae, whose water was considered especially good,21 was linked to Numa. According to tradition, in the grove (lucus) where the spring (fons) of the Camenae was, Numa conversed with Egeria, a water nymph with mantic powers. She became the king’s major inspiration. Water flowing (fons), rather than standing water in a pool (lacus), moved spirits and intellects. For the Romans, Numa was first to organize Roman religion, and this he did with the help of a prophesying nymph.

Touring an empty church while a guide whispers facts about its history seems akin to looking at a stuffed eagle instead of watching the live bird in flight. The theatricality of the Mass - the elaborate vestments, the rhythmic Latin chants, the fragrant smoke rising from the centres, the re-enactment of Christ's Last Supper beneath a lifelike, gruesome Crucifix - creates an emotionality that transports the worshippers to a state of ecstasy, in which the Passion of our Lord becomes quite real.

There was just one problem for Putin: Russia wasn’t a superpower anymore. Despite having a nuclear arsenal second only to our own, Russia lacked the vast network of alliances and bases that allowed the United States to project its military power across the globe. Russia’s economy remained smaller than those of Italy, Canada, and Brazil, dependent almost entirely on oil, gas, mineral, and arms exports. Moscow’s high-end shopping districts testified to the country’s transformation from a creaky state-run economy to one with a growing number of billionaires, but the pinched lives of ordinary Russians spoke to how little of this new wealth trickled down. According to various international indicators, the levels of Russian corruption and inequality rivaled those in parts of the developing world, and its male life expectancy in 2009 was lower than that of Bangladesh. Few, if any, young Africans, Asians, or Latin Americans looked to Russia for inspiration in the fight to reform their societies, or felt their imaginations stirred by Russian movies or music, or dreamed of studying there, much less immigrating. Shorn of its ideological underpinnings, the once-shiny promise of workers uniting to throw off their chains, Putin’s Russia came off as insular and suspicious of outsiders—to be feared, perhaps, but not emulated.