Phrase Anime Quotes

The Americans, who are the most efficient people on the earth, have carried [phrase-making] to such a height of perfection and have invented so wide a range of pithy and hackneyed phrases that they can carry on an amusing and animated conversation without giving a moment’s reflection to what they are saying and so leave their minds free to consider the more important matters of big business and fornication.

The most exciting phrase to hear in science, the one that heralds new discoveries, is not ‘Eureka!’ but ‘That’s funny.

All the towering materialism which dominates the modern mind rests ultimately upon one assumption; a false assumption. It is supposed that if a thing goes on repeating itself it is probably dead; a piece of clockwork. People feel that if the universe was personal it would vary; if the sun were alive it would dance. This is a fallacy even in relation to known fact. For the variation in human affairs is generally brought into them, not by life, but by death; by the dying down or breaking off of their strength or desire. A man varies his movements because of some slight element of failure or fatigue. He gets into an omnibus because he is tired of walking; or he walks because he is tired of sitting still. But if his life and joy were so gigantic that he never tired of going to Islington, he might go to Islington as regularly as the Thames goes to Sheerness. The very speed and ecstacy of his life would have the stillness of death. The sun rises every morning. I do not rise every morning; but the variation is due not to my activity, but to my inaction. Now, to put the matter in a popular phrase, it might be true that the sun rises regularly because he never gets tired of rising. His routine might be due, not to a lifelessness, but to a rush of life. The thing I mean can be seen, for instance, in children, when they find some game or joke that they specially enjoy. A child kicks his legs rhythmically through excess, not absence, of life. Because children have abounding vitality, because they are in spirit fierce and free, therefore they want things repeated and unchanged. They always say, “Do it again”; and the grown-up person does it again until he is nearly dead. For grown-up people are not strong enough to exult in monotony. But perhaps God is strong enough to exult in monotony. It is possible that God says every morning, “Do it again” to the sun; and every evening, “Do it again” to the moon. It may not be automatic necessity that makes all daisies alike; it may be that God makes every daisy separately, but has never got tired of making them. It may be that He has the eternal appetite of infancy; for we have sinned and grown old, and our Father is younger than we. The repetition in Nature may not be a mere recurrence; it may be a theatrical ENCORE. Heaven may ENCORE the bird who laid an egg. If the human being conceives and brings forth a human child instead of bringing forth a fish, or a bat, or a griffin, the reason may not be that we are fixed in an animal fate without life or purpose. It may be that our little tragedy has touched the gods, that they admire it from their starry galleries, and that at the end of every human drama man is called again and again before the curtain. Repetition may go on for millions of years, by mere choice, and at any instant it may stop. Man may stand on the earth generation after generation, and yet each birth be his positively last appearance.

Parrots learn profanity more easily than common phrases since we utter our curses with so much vigor. The parrot doesn’t know the meaning of these words, but he hears the energy invested in them. Even animals can pick up on the power we have hidden in the shadow!

People said things to me like "They're just animals. They're here for our use." I had a visceral reaction to that phrase, maybe because I was told countless times during my growing-up years that I was "just like an animal." I had suffered much of my life because I was considered less than human. Animals were suffering because they were less than human. And it seemed to me that human didn't have much to be proud of, if they treated other living things with such blind cruelty.

But those stories inspire observations and experiments that do help us sort out what’s going on. The science fiction novelist Isaac Asimov reportedly once said, “The most exciting phrase to hear in science, the one that heralds new discoveries, is not ‘Eureka!’ but ‘That’s funny.

The world of men is a brutal place. And yet women visit our offices, approach us in the streets, and send us petitions with tens of thousands more signatures every year to ask for more freedom. They feel their safety comes at the expense of their freedom. And, gentlemen, the trouble with freedom is it isn't just an empty phrase that serves well in a speech. The desire to be free is an instinct deeply ingrained in every living thing. Trap any wild animal, and it will bite off its own paw to be free again. Capture a man, and breaking free will become his sole mission. Te only way to dissuade a creature from striving for its freedom is to break it ... I, for my part, am not prepared to break half the population of Britain. I am, in fact, unprepared to see single woman harmed because of her desire for some liberty.

I can't help but recall, at this point, a horribly elitist but very droll remark by one of my favorite writers, the American "critic of the seven arts", James Huneker, in his scintillating biography of Frédéric Chopin, on the subject of Chopin's étude Op. 25, No. 11 in A minor, which for me, and for Huneker, is one of the most stirring and most sublime pieces of music ever written: “Small-souled men, no matter how agile their fingers, should avoid it.” "Small-souled men"?! Whew! Does that phrase ever run against the grain of American democracy! And yet, leaving aside its offensive, archaic sexism (a crime I, too, commit in GEB, to my great regret), I would suggest that it is only because we all tacitly do believe in something like Hueneker's' shocking distinction that most of us are willing to eat animals of one sort or another, to smash flies, swat mosquitos, fight bacteria with antibiotics, and so forth. We generally concur that "men" such as a cow, a turkey, a frog, and a fish all possess some spark of consciousness, some kind of primitive "soul" but by God, it's a good deal smaller than ours is — and that, no more and no less, is why we "men" feel that we have the perfect right to extinguish the dim lights in the heads of these fractionally-souled beasts and to gobble down their once warm and wiggling, now chilled and stilled protoplasm with limitless gusto, and not feel a trace of guilt while doing so.

The questions of God – meaning in Milton’s phrase “The god who hung the stars like lamps in heaven” – I don’t think psychedelics can address that definitively, but there is another god, a goddess, the goddess of biology, the goddess of the coherent animal human world, the world of the oceans, the atmosphere, and the planet. In short, our world! The world that we were born into, that we evolved into, and that we came from. That world, the psychedelics want to connect us up to… Our individuality, as people and as a species, is an illusion of bad language that the psychedelics dissolve into the greater feeling of connectedness that underlies our being here, and to my mind that’s the religious impulse. It’s not a laundry list of moral dos and don’ts, or a set of dietary prescriptions or practices: it’s a sense of connectedness, responsibility for our fellow human beings and for the earth you walking around on, and because these psychedelics come out of that plant vegetable matrix they are the way back into it.

When animals make a stupid mistake, you laugh at them. A cat misjudges a leap. A dog looks overly quizzical about a simple object. These are funny things. But when a person doesn’t understand something, if they miscalculate and hit the brakes too late, blame is assigned. They are stupid. They are wrong. Teachers and cops are there to sort it out, with a trail of paperwork to illustrate the stupidity. The faults. The evidence and incidents of these things. We have entire systems in place to help decide who is what. Sometimes the systems don’t work. Families spend their weekend afternoons at animal shelters, even when they’re not looking for a pet. They come to see the unwanted and unloved. The cats and dogs who don’t understand why they are these things. They are petted and combed, walked and fed, cooed over and kissed. Then they go back in their cages and sometimes tears are shed. Fuzzy faces peering through bars can be unbearable for many. Change the face to a human one and the reaction changes. The reason why is because people should know better. But our logic is skewed in this respect. A dog that bites is a dead dog. First day at the shelter and I already saw one put to sleep, which in itself is a misleading phrase. Sleep implies that you have the option of waking up. Once their bodies pass unconsciousness to something deeper where systems start to fail, they revolt a little bit, put up a fight on a molecular level. They kick. They cry. They don’t want to go. And this happens because their jaws closed over a human hand, ever so briefly. Maybe even just the once. But people, they get chances. They get the benefit of the doubt. Even though they have the higher logic functioning and they knew when they did it THEY KNEW it was a bad thing.

In biologist Stephen Jay Gould’s illustrative phrase, human beings should be seen as a “tiny, late-arising twig on life’s enormously arborescent bush.”14 That

Jonathan Safran Foer’s 10 Rules for Writing: 1.Tragedies make great literature; unfathomable catastrophes (the Holocaust, 9/11) are even better – try to construct your books around them for added gravitas but, since those big issues are such bummers, make sure you do it in a way that still focuses on a quirky central character that’s somewhat like Jonathan Safran Foer. 2. You can also name your character Jonathan Safran Foer. 3. If you’re writing a non-fiction book you should still make sure that it has a strong, deep, wise, and relatable central character – someone like Jonathan Safran Foer. 4. If you reach a point in your book where you’re not sure what to do, or how to approach a certain scene, or what the hell you’re doing, just throw in a picture, or a photo, or scribbles, or blank pages, or some illegible text, or maybe even a flipbook. Don’t worry if these things don’t mean anything, that’s what postmodernism is all about. If you’re not sure what to put in, you can’t go wrong with a nice photograph of Jonathan Safran Foer. 5. If you come up with a pun, metaphor, or phrase that you think is really clever and original, don’t just use it once and throw it away, sprinkle it liberally throughout the text. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 6. Don’t worry if you seem to be saying the same thing over and over again, repetition makes the work stronger, repetition is good, it drives the point home. The more you repeat a phrase or an idea, the better it gets. You should not be afraid of repeating ideas or phrases. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 7. Other writers are not your enemies, they are your friends, so you should feel free to borrow some of their ideas, words, techniques, and symbols, and use them completely out of context. They won’t mind, they’re your friends, just like my good friend Paul Auster, with whom I am very good friends. Just make sure you don’t steal anything from Jonathan Safran Foer, it wouldn’t be nice, he is your friend. 8. Make sure you have exactly three plots in your novel, any more and it gets confusing, any less and it’s not postmodern. At least one of those plots should be in a different timeline. It often helps if you name these three plots, I often use “Jonathan,” “Safran,” and “Foer.” 9. Don’t be afraid to make bold statements in you writing, there should always be a strong lesson to be learned, such as “don’t eat animals,” or “the Holocaust was bad,” or “9/11 was really really sad,” or “the world would be a better place if everyone was just a little bit more like Jonathan Safran Foer.” 10. In the end, don’t worry if you’re unsuccessful as a writer, it probably wasn’t meant to be. Not all of us are chosen to become writers. Not all of us can be Jonathan Safran Foer.

As he once wrote of Kipling, his own enduring influence can be measured by a number of terms and phrases—doublethink, thought police, 'Some animals are more equal than others'—that he embedded in our language and in our minds. In Orwell's own mind there was an inextricable connection between language and truth, a conviction that by using plain and unambiguous words one could forbid oneself the comfort of certain falsehoods and delusions. Every time you hear a piece of psychobabble or propaganda—'people's princess,' say, or 'collateral damage,' or 'peace initiative'—it is good to have a well-thumbed collection of his essays nearby. His main enemy in discourse was euphemism, just as his main enemy in practice was the abuse of power, and (more important) the slavish willingness of people to submit to it.

Valdivia's actions symbolize man's indefatigable thirst to take control of a place where he can exercise total authority. That phrase, attributed to Caesar, proclaiming he would rather be first-in-command in some humble Alpine village than second-in-command in Rome, is repeated less pompously, but no less effectively, in the epic campaign that is the conquest of Chile. If, in the moment the conquistador was facing death at the hands of tht invincible Araucanian Caupolican, he had not been overwhelmed with fury, like a hunted animal, I do not doubt that judging his life, Valdivia would have felt death was fully justified. He belonged to that special class of men the species produces every so often, in whom a craving for limitless power is so extreme that any suffering to achieve it seems natural, and he had become the omnipotent ruler of a warrior nation.

A saving grace of the human condition (if I may phrase it like that) is a sense of humor. Many writers and witnesses, guessing the connection between sexual repression and religious fervor, have managed to rescue themselves and others from its deadly grip by the exercise of wit. And much of religion is so laughable on its face that writers from Voltaire to Bertrand Russell to Chapman Cohen have had great fun at its expense. In our own day, the humor of scientists such as Richard Dawkins and Carl Sagan has ridiculed the apparent inability of the creator to know, let alone to understand, what he has created. Gods seem not to know of any animals except the ones tended by their immediate worshippers and seem to be ignorant as well of microbes and the laws of physics. The self-evident man-madeness of religion, as well as its masculine-madeness in respect of religion’s universal commitment to male domination, is one of the first things to strike the eye.

For most people, the phrase 'climate change' is just white noise. Easier to have opinions on smaller matters. We can comprehend the loss of something valuable, can comprehend when an animal is shot, when a project blows past its agreed-upon budget. But when it comes to the infinitely large, the sacred, to things that are fundamental to our lives, there's no comparable reaction. It's as if the brain cannot register at such a scale.

The Comparative Mythologists contend that the common origin is the common ignorance, and that the loftiest religious doctrines are simply refined expressions of the crude and barbarous guesses of savages, of primitive men, regarding themselves and their surroundings. Animism, fetishism, nature-worship, sun-worship — these are the constituents of the primeval mud out of which has grown the splendid lily of religion. A Krishna, a Buddha, a Lao-tse, a Jesus, are the highly civilized but lineal descendants of the whirling medicine-man of the savage. God is a composite photograph of the innumerable Gods who are the personifications of the forces of nature. And so forth. It is all summed up in the phrase: Religions are branches from a common trunk — human ignorance.

We go to great lengths to deny our animal heritage, and not just in scientific and philosophical discourse. You can glimpse the denial in the shaving of men’s faces; in clothing and other adornments; in the great lengths gone to in the preparation of meat to disguise the fact that an animal is being killed, flayed, and eaten. The common primate practice of pseudosexual mounting of males by males to express dominance is not widespread in humans, and some have taken comfort from this fact. But the most potent form of verbal abuse in English and many other languages is “Fuck you,” with the pronoun “I” implicit at the beginning. The speaker is vividly asserting his claim to higher status, and his contempt for those he considers subordinate. Characteristically, humans have converted a postural image into a linguistic one with barely a change in nuance. The phrase is uttered millions of times each day, all over the planet, with hardly anyone stopping to think what it means. Often, it escapes our lips unbidden. It is satisfying to say. It serves its purpose. It is a badge of the primate order, revealing something of our nature despite all our denials and pretensions.

We learn to restrain ourselves as we get older. We keep apart when we have quarrelled, express ourselves in well-bred phrases, and in this way preserve a dignified alienation, showing much firmness on one side, and swallowing much grief on the other. We no longer approximate in our behavior to the mere impulsiveness of the lower animals, but conduct ourselves in every respect like members of a highly civilized society.

We learn to restrain ourselves as we get older. We keep apart when we have quarrelled, express ourselves in well-bred phrases, and in this way preserve a dignified alienation, showing much firmness on one side, and swallowing much grief on the other. We no longer approximate in our behaviour to the mere impulsiveness of the lower animals, but conduct ourselves in every respect like members of a highly civilised society.

I am apprehensive, Sir, that in the warmth of my feelings, I may have uttered expressions, which were too vehement. If such has been my language, it was from the habit of using strong phrases to express my ideas; and, above all, from the interesting nature of the subject. I have ever condemned those cold, unfeeling hearts, which no object can animate. I condemn those indifferent mortals, who either never form opinions, or never make them known.

I’m not sure how the ponies happened, though I have an inkling: “Can I get you anything?” I’ll say, getting up from a dinner table, “Coffee, tea, a pony?” People rarely laugh at this, especially if they’ve heard it before. “This party’s ‘sposed to be fun,” a friend will say. “Really? Will there be pony rides?” It’s a nervous tic and a cheap joke, cheapened further by the frequency with which I use it. For that same reason, it’s hard to weed it out of my speech – most of the time I don’t even realize I’m saying it. There are little elements in a person’s life, minor fibers that become unintentionally tangled with your personality. Sometimes it’s a patent phrase, sometimes it’s a perfume, sometimes it’s a wristwatch. For me, it is the constant referencing of ponies. I don’t even like ponies. If I made one of my throwaway equine requests and someone produced an actual pony, Juan-Valdez-style, I would run very fast in the other direction. During a few summers at camp, I rode a chronically dehydrated pony named Brandy who would jolt down without notice to lick the grass outside the corral and I would careen forward, my helmet tipping to cover my eyes. I do, however, like ponies on the abstract. Who doesn’t? It’s like those movies with the animated insects. Sure, the baby cockroach seems cute with CGI eyelashes, but how would you feel about fifty of her real-life counterparts living in your oven? And that’s precisely the manner in which the ponies clomped their way into my regular speech: abstractly. “I have something for you,” a guy will say on our first date. “Is it a pony?” No. It’s usually a movie ticket or his cell phone number. But on our second date, if I ask again, I’m pretty sure I’m getting a pony. And thus the Pony drawer came to be. It’s uncomfortable to admit, but almost every guy I have ever dated has unwittingly made a contribution to the stable. The retro pony from the ‘50s was from the most thoughtful guy I have ever known. The one with the glitter horseshoes was from a boy who would later turn out to be straight somehow, not gay. The one with the rainbow haunches was from a librarian, whom I broke up with because I felt the chemistry just wasn’t right, and the one with the price tag stuck on the back was given to me by a narcissist who was so impressed with his gift he forgot to remover the sticker. Each one of them marks the beginning of a new relationship. I don’t mean to hint. It’s not a hint, actually, it’s a flat out demand: I. Want. A. Pony. I think what happens is that young relationships are eager to build up a romantic repertoire of private jokes, especially in the city where there’s not always a great “how we met” story behind every great love affair. People meet at bars, through mutual friends, on dating sites, or because they work in the same industry. Just once a coworker of mine, asked me out between two stops on the N train. We were holding the same pole and he said, “I know this sounds completely insane, bean sprout, but would you like to go to a very public place with me and have a drink or something...?” I looked into his seemingly non-psycho-killing, rent-paying, Sunday Times-subscribing eyes and said, “Sure, why the hell not?” He never bought me a pony. But he didn’t have to, if you know what I mean.

The world – whatever we might think when terrified by its vastness and our own impotence, or embittered by its indifference to individual suffering, of people, animals, and perhaps even plants, for why are we so sure that plants feel no pain; whatever we might think of its expanses pierced by the rays of stars surrounded by planets we've just begun to discover, planets already dead? still dead? we just don’t know; whatever we might think of this measureless theater to which we've got reserved tickets, but tickets whose lifespan is laughably short, bounded as it is by two arbitrary dates; whatever else we might think of this world – it is astonishing. But ‘astonishing’ is an epithet concealing a logical trap. We’re astonished, after all, by things that deviate from some well-known and universally acknowledged norm, from an obviousness we've grown accustomed to. Now the point is, there is no such obvious world. Our astonishment exists per se and isn't based on comparison with something else. Granted, in daily speech, where we don’t stop to consider every word, we all use phrases like ‘the ordinary world,’ ‘ordinary life,’ ‘the ordinary course of events’ … But in the language of poetry, where every word is weighed, nothing is usual or normal. Not a single stone and not a single cloud above it. Not a single day and not a single night after it. And above all, not a single existence, not anyone’s existence in this world.

All things have the capacity for speech -- all beings have the ability to communicate something of themselves to other beings. Indeed, what is perception if not the experience of this gregarious, communicative power of things, wherein even obstensibly 'inert' objects radiate out of themselves, conveying their shapes, hues, and rhythms to other beings and to us, influencing and informing our breathing bodies though we stand far apart from those things? Not just animals and plants, then, but tumbling waterfalls and dry riverbeds, gusts of wind, compost piles and cumulus clouds, freshly painted houses (as well as houses abandoned and sometimes haunted), rusting automobiles, feathers, granite cliffs and grains of sand, tax forms, dormant volcanoes, bays and bayous made wretched by pollutants, snowdrifts, shed antlers, diamonds, and daikon radishes, all are expressive, sometimes eloquent and hence participant in the mystery of language. Our own chatter erupts in response to the abundant articulations of the world: human speech is simply our part of a much broader conversation. It follows that the myriad things are also listening, or attending, to various signs and gestures around them. Indeed, when we are at ease in our animal flesh, we will sometimes feel we are being listened to, or sensed, by the earthly surroundings. And so we take deeper care with our speaking, mindful that our sounds may carry more than a merely human meaning and resonance. This care -- this full-bodied alertness -- is the ancient, ancestral source of all word magic. It is the practice of attention to the uncanny power that lives in our spoken phrases to touch and sometimes transform the tenor of the world's unfolding.

When we hear the phrase “rescue animal,” we tend to think of a dog or cat being rescued by a human. But when Enzo came into my life, I learned that more often than not, the rescued animal is the human, and the rescuer usually has four legs (or sometimes three).

My whole body struggled to summon any utterable phrase. I knew you were a good animal, but felt myself to be standing before an enormous mountain, a lifetime of unwillingness to claim what I wanted, to ask for it. Now here you were, your face close to mine, waiting.

Granted, vegetarian naming wrests meat eating from a context of acceptance; this does not invalidate its mission. One thing must be acknowledged about vegetarian naming as exemplified in the above examples: these are true words. The dissonance they produce is not due to their being false, but to their being too accurate. These words do not adhere to our common discourse which presumes the edibility of animals. Just as feminists proclaimed that 'rape is violence, not sex,' vegetarians wish to name the violence of meat eating. Both groups challenge commonly used terms. Mary Daly calls the phrase 'forcible rape' a reversal by redundancy because it implies that all rapes are not forcible. This example highlights the role of language in masking violence, in this case an adjective deflects attention from the violence inherent in the meaning of the noun. The adjective confers a certain benignity on the word 'rape.' Similarly, the phrase 'humane slaughter' confers a certain benignity on the term 'slaughter.' Daly would call this the process of 'simple inversion': 'the usage of terms and phrases to label...activities as the opposite of what they really are.' The use of adjectives in the phrases 'humane slaughter' and 'forcible rape' promotes a conceptual misfocusing that relativizes these acts of violence. Additionally, as we ponder how the end is achieved, 'forcibly,' 'humanely,' our attention is continously framed so that the absent referents--women, animals--do not appear. Just as all rapes are forcible, all slaughter of animals for food is inhumane regardless of what it is called.

Pneuma is the power—the vital breath—that animates animals and humans. It is, in Dylan Thomas’s phrase, “the force that through the green fuse drives the flower,” and is present even in lifeless materials like stone or metal as the energy that holds the object together—the

For man is a symbol-making animal. He constructs a symbolic model of outer reality in his brain, and expresses it by a second set of symbols in terms of words, equations, pigment, or stone. All he knows directly are bodily sensations, and all he can directly do is to perform bodily motions; the rest of his knowledge and means of expression is symbolical. To use a phrase coined by J. Cohen, man has a metaphorical consciousness. Any attempt to get a direct grasp at naked reality is self-defeating; Urania, too, like the other muses, always has a last veil left to fold in.

Was there no sword, nothing with which to batter down these walls, this protection, this begetting of children and living behind curtains, and becoming daily more involved and committed, with books and pictures? Better burn one’s life out like Louis, desiring perfection; or like Rhoda leave us, flying past us to the desert; or choose one out of millions and one only like Neville; better be like Susan and love and hate the heat of the sun or the frost-bitten grass; or be like Jinny, honest, an animal. All had their rapture; their common feeling with death; something that stood them in stead. Thus I visited each of my friends in turn, trying, with fumbling fingers, to prise open their locked caskets. I went from one to the other holding my sorrow—no, not my sorrow but the incomprehensible nature of this our life—for their inspection. Some people go to priests; others to poetry; I to my friends, I to my own heart, I to seek among phrases and fragments something unbroken—I to whom there is not beauty enough in moon or tree; to whom the touch of one person with another is all, yet who cannot grasp even that, who am so imperfect, so weak, so unspeakably lonely. There I sat.

The phrase “animal rights” has been, and still is, employed most often to describe moral rights and social values in favor of compassion and against cruelty. The modern twist is the emergence of conversations where the term means all of this and more, namely, the possibility of legal rights for some or all nonhuman animals.

...only very few - only humans, as far as we know - achieve the second level of transcendent movement. Through this, the environment is de-restricted to become the world as an integral whole of manifest and latent elements. The second step is the work of language. This not only builds the 'house of being' - Heidegger took this phrase from Zarathustra's animals, which inform the convalescent: 'the house of being rebuilds itself eternally'; it is also the vehicle for the tendencies to run away from that house with which, by means of its inner surpluses, humans move towards the open. It need hardly be explained why the oldest parasite in the world, the world above, only appears with the second transcendence.

The wise always use a number of ready-made phrases (at the moment I write ‘nobody’s business’ is the most common), popular adjectives (like ‘divine’ or ‘shy-making’), verbs that you only know the meaning of if you live in the right set (like ‘dunch’), which give a homely sparkle to small talk and avoid the necessity of thought. The Americans, who are the most efficient people on the earth, have carried this device to such perfection and have invented so wide a range of pithy and hackneyed phrases that they can carry on amusing and animated conversation without giving a moment’s reflection to what they are saying and so leave their minds free to consider the more important matters of big business and fornication.

Some people call it "singing," as if birds are putting on a musical show, rather than talking to each other, and this seems a rather self-centered view, a phrase which here means "the selfish way we humans often think about animals." Many humans, for instance, believe in reincarnation, which is the idea that when you die you are reborn as a new person or another animal, and many of the people who believe in reincarnation believe that a human is the highest form, the best thing to be when you are reborn. I have never been convinced of this. I looked at the birds. They did not seem to be thinking I was the highest form, nor has any other creature I've ever looked at, and their chirping did not appear to be for my entertainment.

Sadie liked the phrase “an abundance of caution.” It reminded her of a murder of crows, a flock of seagulls, a pack of wolves. She imagined that “caution” was a creature of some kind—maybe, a cross between a Saint Bernard and an elephant. A large, intelligent, friendly animal that could be counted on to defend the Green sisters from threats, existential and otherwise.

Books have no life; they lack feeling maybe, and perhaps cannot feel pain, as animals and even plants feel -pain. But what proof have we that inorganic objects can feel no pain? Who knows if a book may not yearn for other books, its companions of many years, in some way strange to us and therefore never yet perceived? Every thinking being knows those moments in which the traditional frontier set by science between the organic and the inorganic, seems artificial and outdated, like every frontier drawn by men. Is not a secret antagonism to this division revealed in the very phrase 'dead matter' ? For the dead must once have been the living. Let us admit then of a substance that it is dead, have we not in so doing endowed it with an erstwhile life.

There is always a simple way of saying things," said Fafhrd ominously. "But there is where I differ with you," returned the adept, almost animatedly. "There are no ways of saying certain things, and others are so difficult that a man pines and dies before the right words are found. One must borrow phrases from the sky, words from beyond the stars. Else were all an ignorant, imprisoning mockery.

Phrases offered to the grief-stricken, such as “time heals all wounds” and “the day will come when you reach closure” irritated him, and there were times when he sat silent, seeming half-buried in some sediment of sorrow. “Closure? When someone beloved dies there is no ‘closure.’” He disliked television programs featuring tornado chasers squealing “Big one! Big one!” and despised the rat-infested warrens of the Internet, riddled with misinformation and chicanery. He did not like old foreign movies where, when people parted, one stood in the middle of the road and waved. He thought people with cell phones should be immolated along with those who overcooked pasta. Calendars, especially the scenic types with their glowing views of a world without telephone lines, rusting cars or burger stands, enraged him, but he despised the kittens, motorcycles, famous women and jazz musicians of the special-interest calendars as well. “Why not photographs of feral cats? Why not diseases?” he said furiously. Wal-Mart trucks on the highway received his curses and perfumed women in elevators invited his acid comment that they smelled of animal musk glands. For years he had been writing an essay entitled “This Land Is NOT Your Land.

What phrase was that, sir?” “You said something about interviewing people face to——” He shook his head, his tongue dabbing quickly at his lips. “I would rather not say it. I think you know what I mean. The phrase conjured up the most striking picture of the two of us breathing—breathing one another’s breath.” The Solarian shuddered. “Don’t you find that repulsive?” “I don’t know that I’ve ever thought of it so.” “It seems so filthy a habit. And as you said it and the picture rose in my mind, I realized that after all we were in the same room and even though I was not facing you, puffs of air that had been in your lungs must be reaching me and entering mine. With my sensitive frame of mind——” Baley said, “Molecules all over Solaria’s atmosphere have been in thousands of lungs. Jehoshaphat! They’ve been in the lungs of animals and the gills of fish.

A kenning is a metaphorical circumlocution consisting of paired nouns or a noun phrase. For example, in ancient Icelandic verse, a sword is not a sword but an "icicle of blood"; a ship is not a ship but the "horse of the sea"; and eyes are not eyes but the "moons of the forehead." Similarly, the earth is "the floor of the hall of the winds" or "the sea trodden on by animals," while fire is "destroyer of timber" or "the sun of houses.

By Mendel’s time, plant breeding had progressed to a point where every region boasted dozens of local varieties of peas, not to mention beans, lettuce, strawberries, carrots, wheat, tomatoes, and scores of other crops. People may not have known about genetics, but everyone understood that plants (and animals) could be changed dramatically through selective breeding. A single species of weedy coastal mustard, for example, eventually gave rise to more than half a dozen familiar European vegetables. Farmers interested in tasty leaves turned it into cabbages, collard greens, and kale. Selecting plants with edible side buds and flower shoots produced Brussels sprouts, cauliflower, and broccoli, while nurturing a fattened stem produced kohlrabi. In some cases, improving a crop was as simple as saving the largest seeds, but other situations required real sophistication. Assyrians began meticulously hand-pollinating date palms more than 4,000 years ago, and as early as the Shang Dynasty (1766–1122 BC), Chinese winemakers had perfected a strain of millet that required protection from cross-pollination. Perhaps no culture better expresses the instinctive link between growing plants and studying them than the Mende people of Sierra Leone, whose verb for “experiment” comes from the phrase “trying out new rice.

It's this human porosity that bothers me and that I can't escape since it is the faith of my skin, the extra sense which is everywhere in my being, this lack of eyelids on the face of the soul, or perhaps this imaginary lack of imaginary lids, this excessive facility I have for catching others, I am caught by persons or things animated or unanimated that I don't even frequent, and even the verb catch I catch or rather I am caught by it, for, note this please, it's not I who wish to change, it's the other who gets his hooks in me for lack of armor. All it takes is for me to be plunged for an hour or less into surroundings where the inevitable occurs--cafe, bus, hair salon, train carriage, recording studio--there must be confinement and envelopment, and there I am stained intoxicated, practically any speaker can appropriate my mental cells and poison my sinuses, shit, idiocies, cruelties, vulgar spite, trash, innumerable particles of human hostility inflame the windows of my brain and I get off the transport sick for days. It isn't the fault of one Eichmann or another. I admit to being guilty of excessive receptivity to mental miasma. The rumor of a word poisons me for a long time. Should I read or hear such and such a turn of phrase or figure of speech, right away I can't breathe my mucous membranes swell up, my lips go dry, I am asthmaticked, sometimes I lose my balance and crash to the ground, or on a chair if perchance one is there, in the incapacity of breathing the unbreathable.

Literature – which is art married to thought, and realization untainted by reality – seems to me the end towards which all human effort would have to strive, if it were truly human and not just a welling up of our animal self. To express something is to conserve its virtue and take away its terror. Fields are greener in their description than in their actual greenness. Flowers, if described with phrases that define them in the air of the imagination, will have colours with a durability not found in cellular life.

...Now let's set the record straight. There's no argument over the choice between peace and war, but there's only one guaranteed way you can have peace—and you can have it in the next second—surrender. Admittedly, there's a risk in any course we follow other than this, but every lesson of history tells us that the greater risk lies in appeasement, and this is the specter our well-meaning liberal friends refuse to face—that their policy of accommodation is appeasement, and it gives no choice between peace and war, only between fight or surrender. If we continue to accommodate, continue to back and retreat, eventually we have to face the final demand—the ultimatum. And what then—when Nikita Khrushchev has told his people he knows what our answer will be? He has told them that we're retreating under the pressure of the Cold War, and someday when the time comes to deliver the final ultimatum, our surrender will be voluntary, because by that time we will have been weakened from within spiritually, morally, and economically. He believes this because from our side he's heard voices pleading for "peace at any price" or "better Red than dead," or as one commentator put it, he'd rather "live on his knees than die on his feet." And therein lies the road to war, because those voices don't speak for the rest of us. You and I know and do not believe that life is so dear and peace so sweet as to be purchased at the price of chains and slavery. If nothing in life is worth dying for, when did this begin—just in the face of this enemy? Or should Moses have told the children of Israel to live in slavery under the pharaohs? Should Christ have refused the cross? Should the patriots at Concord Bridge have thrown down their guns and refused to fire the shot heard 'round the world? The martyrs of history were not fools, and our honored dead who gave their lives to stop the advance of the Nazis didn't die in vain. Where, then, is the road to peace? Well it's a simple answer after all. You and I have the courage to say to our enemies, "There is a price we will not pay." "There is a point beyond which they must not advance." And this—this is the meaning in the phrase of Barry Goldwater's "peace through strength." Winston Churchill said, "The destiny of man is not measured by material computations. When great forces are on the move in the world, we learn we're spirits—not animals." And he said, "There's something going on in time and space, and beyond time and space, which, whether we like it or not, spells duty." You and I have a rendezvous with destiny. We'll preserve for our children this, the last best hope of man on earth, or we'll sentence them to take the last step into a thousand years of darkness...

If we put aside the self-awareness standard -- and really, how arbitrary and arrogant is that, to take the attribute of consciousness we happen to possess over all creatures and set it atop the hierarchy,  proclaiming it the very definition of consciousness (Georg Christoph Lichtenberg wrote something wise in his notebooks, to the effect of: only a man can draw a self-portrait, but only a man wants to) -- it becomes possible to say at least the following: the overwhelming tendency of all this scientific work, of its results, has been toward more consciousness. More species having it, and species having more of it than assumed. This was made boldly clear when the 'Cambridge Declaration on Consciousness' pointed out that those 'neurological substrates' necessary for consciousness (whatever 'consciousness' is) belong to 'all mammals and birds, and many other creatures, including octopuses.' The animal kingdom is symphonic with mental activity, and of its millions of wavelengths, we’re born able to understand the minutest sliver. The least we can do is have a proper respect for our ignorance. "The philosopher Thomas Nagel wrote an essay in 1974 titled, 'What Is It Like To Be a Bat?,' in which he put forward perhaps the least overweening, most useful definition of 'animal consciousness' ever written, one that channels Spinoza’s phrase about 'that nature belonging to him wherein he has his being.' Animal consciousness occurs, Nagel wrote, when 'there is something that it is to be that organism -- something it islike for the organism.' The strangeness of his syntax carries the genuine texture of the problem. We’ll probably never be able to step far enough outside of our species-reality to say much about what is going on with them, beyond saying how like or unlike us they are. Many things are conscious on the earth, and we are one, and our consciousness feels likethis; one of the things it causes us to do is doubt the existence of the consciousness of the other millions of species. But it also allows us to imagine a time when we might stop doing that.

Finally, instead of the condemnation of evil actions, there is an oddly phrased condemnation of impure thoughts. One can tell that this, too, is a man-made product of the alleged time and place, because it throws in "wife" along with the other property, animal, human, and material, of the neighbor. More important, it demands the impossible: a recurrent problem with all religious edicts. One may be forcibly restrained from wicked actions, or barred from committing them, but to forbid people from contemplating them is too much. In particular, it is absurd to hope to banish envy of other people's possessions or fortunes, if only because the spirit of envy can lead to emulation and ambition and have positive consequences.

What is the meaning of the phrase “shall be bound in heaven... shall be loosed in heaven?” Williams, the Bible translator, points out for us that the verb form is the perfect passive participle, so the reference is to things in a state of having been already forbidden (or permitted). This tells us that whatever is bound or loosed by the believer is done on the basis that it has already been done “in heaven,” i.e. by the Lord himself. What is it, then, that the Lord has already bound and which he has given us power to bind again? Jesus teaches us: Or else how can one enter into a strong man’s house, and spoil his goods, except he first bind the strong man? and then he will spoil his house. Matt. 12:29 The context of this passage finds Jesus casting out demons. His authority for thus doing is challenged by the religious authorities. They accuse him of doing it by the power of the devil himself. Jesus is explaining that he is able to control demon spirits and make them obey him because he has already bound the strong man — Satan. The fact that the demons obey Him is evidence of Satan being bound. Satan is already bound “in heaven” — by heaven’s power. His power is broken. The key is given to us. We have power over him, too. Amen! The Greek word for “bind” in the passage before us is deo. It means to fasten or tie — as with chains, as an animal tied to keep it from straying. This is glorious! When Satan is bound he is made inoperable. He loses his ability to act against us.

Anyone who thinks of Satan as evil should consider all the men, women, children, and animals who have died because it was "God's will". Certainly a person grieving the untimely loss of a loved one would much rather have their loved one with them than in God's hands! Instead, they are unctuously consoled by their clergyman who says, "It was God's will, my dear"; or "He is in God's hands now, my son." Such phrases have been a convenient way for religionists to condone or excuse the mercilessness of God. But if God is in complete control and as benign as he is supposed to be, why does He allow these things to happen? Too long have religionists been falling back on their bibles and rulebooks to prove or disprove, justify, condemn, or interpret.

The more you nose around the subject of humiliation, the more perplexed you become about what pleasure actually is. To say that people don’t always use sex exclusively for pleasurable purposes is a pretty vast understatement. Yet how much can we grasp about the alternative purposes? Those “caught with their pants down” aren’t typically very forthcoming about what they hoped to accomplish. Weiner, once exposed, said, “I don’t know what I was thinking,” after he finally admitted sending the incriminating photos. “This was a destructive thing to do.” He further non-elaborated, “If you’re looking for some kind of deep explanation for it, I simply don’t have one.” No doubt anyone in possession of a libido has experienced the occasional fissure between brain and groin, and knows how carefully both must be monitored to avoid personal catastrophe. “I don’t know what I was thinking” is a phrase many of us have had cause to utter on occasion. Alcohol, that great disinhibitor, is a convenient after-the-fact explanation. Still, the general view is that when the brain suspends operations, it’s in the pursuit of enjoyment, not pain and humiliation. “I wasn’t thinking” is the customary code for “I had to stop thinking to have some fun.” The idea that we’re pleasure-seeking animals tragically constrained by the encumbrances of civilization is a lot more palatable than the idea that we’re destruction-seeking animals pursuing opportunities to degrade and humiliate ourselves in front of the world.

Rather than trying to prevent all errors, we should assume, as is almost always the case, that our people’s intentions are good and that they want to solve problems. Give them responsibility, let the mistakes happen, and let people fix them. If there is fear, there is a reason—our job is to find the reason and to remedy it. Management’s job is not to prevent risk but to build the ability to recover. CHAPTER 7 THE HUNGRY BEAST AND THE UGLY BABY During the late 1980s and early 1990s, as an ascendant Disney Animation was enjoying a remarkable string of hit films—The Little Mermaid, Beauty and the Beast, Aladdin, The Lion King—I began to hear a phrase being used again and again in the executive suites of its Burbank headquarters: “You’ve got to feed the

You say, you don't have any prejudice! Let's put that to test, shall we! Read the following phrases, pausing a few seconds after each. Hallelujah! ¡Viva la libertad! Shabbat Shalom! Allahu Akbar! Black Lives Matter! We're Here, We're Queer! My body, my decision! Now bring your faculty of reason into action, and think, which of the terms induced a negative emotional response in your mind? It's nothing out of the ordinary, it's just common animal nature. How your brain got conditioned to react in such a way that's a different matter. The main thing is, your brain just reacted exactly like the brain of pavlov's dog every time it heard the bell. The only difference is that, a dog doesn't have further brain capacity to question such conditioning, but a human does.

Darwin singled out the eye as posing a particularly challenging problem: 'To suppose that the eye with all its inimitable contrivances for adjusting the focus to different distances, for admitting different amounts of light, and for the correction of spherical and chromatic aberration, could have been formed by natural selection, seems, I freely confess, absurd in the highest degree.' Creationists gleefully quote this sentence again and again. Needless to say, they never quote what follows. Darwin's fulsomely free confession turned out to be a rhetorical device. He was drawing his opponents towards him so that his punch, when it came, struck the harder. The punch, of course, was Darwin's effortless explanation of exactly how the eye evolved by gradual degrees. Darwin may not have used the phrase 'irreducible complexity', or 'the smooth gradient up Mount Improbable', but he clearly understood the principle of both. 'What is the use of half an eye?' and 'What is the use of half a wing?' are both instances of the argument from 'irreducible complexity'. A functioning unit is said to be irreducibly complex if the removal of one of its parts causes the whole to cease functioning. This has been assumed to be self-evident for both eyes and wings. But as soon as we give these assumptions a moment's thought, we immediately see the fallacy. A cataract patient with the lens of her eye surgically removed can't see clear images without glasses, but can see enough not to bump into a tree or fall over a cliff. Half a wing is indeed not as good as a whole wing, but it is certainly better than no wing at all. Half a wing could save your life by easing your fall from a tree of a certain height. And 51 per cent of a wing could save you if you fall from a slightly taller tree. Whatever fraction of a wing you have, there is a fall from which it will save your life where a slightly smaller winglet would not. The thought experiment of trees of different height, from which one might fall, is just one way to see, in theory, that there must be a smooth gradient of advantage all the way from 1 per cent of a wing to 100 per cent. The forests are replete with gliding or parachuting animals illustrating, in practice, every step of the way up that particular slope of Mount Improbable. By analogy with the trees of different height, it is easy to imagine situations in which half an eye would save the life of an animal where 49 per cent of an eye would not. Smooth gradients are provided by variations in lighting conditions, variations in the distance at which you catch sight of your prey—or your predators. And, as with wings and flight surfaces, plausible intermediates are not only easy to imagine: they are abundant all around the animal kingdom. A flatworm has an eye that, by any sensible measure, is less than half a human eye. Nautilus (and perhaps its extinct ammonite cousins who dominated Paleozoic and Mesozoic seas) has an eye that is intermediate in quality between flatworm and human. Unlike the flatworm eye, which can detect light and shade but see no image, the Nautilus 'pinhole camera' eye makes a real image; but it is a blurred and dim image compared to ours. It would be spurious precision to put numbers on the improvement, but nobody could sanely deny that these invertebrate eyes, and many others, are all better than no eye at all, and all lie on a continuous and shallow slope up Mount Improbable, with our eyes near a peak—not the highest peak but a high one.

Everything is going to be alright" we often say to ourselves or to others - when we are faced with problems, before falling asleep, after we have been disappointed. "Things may be unpleasant and difficult at the moment, but in the end everything is going to be alright." As far as the animals are concerned, nothing is going to be alright! Everything is bad, getting worse and the end will be more terrible than all fearful anticipations: on the death transport, on the slaughterhouse floor, on the chair of torture. "Everything is going to be alright!" This pacifying phrase for human beings is not valid for animals, because we have transformed their world into a singular hell. What we invented in horror movies or psychological thrillers to send pleasant shivers down our spine, is what animals are subjected to in reality: everywhere, continuously, in our midst, at this very moment - right now. Everybody knows, everybody remains silent, nobody takes action. Can it go on like this? It must not go on like this! Anyone who feels bound in earnest by any moral principles at all has the absolute duty to stand up against these crimes, which are in utter contradiction to every kind of morality.

…the State is essentially a mere institution for protecting all from external attacks and individuals from attacks within its borders. It follows from this that the necessity of the State rests ultimately on the acknowledged injustice and unfairness of the human race. In the absence of injustice, no one would think of a State, for none would need to fear any encroachment of his rights and a mere union against the attacks of wild animals or the elements would bear only a feeble resemblance to the State. From this point of view, we clearly see the narrow-mindedness and shallowness of the philosophasters who in pompous phrases represent the State as the highest purpose and the flower of human existence and thus furnish an apotheosis of Philistinism…But never has this false delusion been made more mendaciously and impudently than by the demagogues of the present day… They think that, if only governments did their duty, there would be heaven on earth, in other words, that all could gorge, guzzle, propagate, and die without effort and anxiety. For this is the paraphrase of their “end in itself”; this is the goal of the “endless progress of mankind” which they are never tired of proclaiming in pompous phrases.

If you’re an introvert, you also know that the bias against quiet can cause deep psychic pain. As a child you might have overheard your parents apologize for your shyness. (“Why can’t you be more like the Kennedy boys?” the Camelot-besotted parents of one man I interviewed repeatedly asked him.) Or at school you might have been prodded to come “out of your shell”—that noxious expression which fails to appreciate that some animals naturally carry shelter everywhere they go, and that some humans are just the same. “All the comments from childhood still ring in my ears, that I was lazy, stupid, slow, boring,” writes a member of an e-mail list called Introvert Retreat. “By the time I was old enough to figure out that I was simply introverted, it was a part of my being, the assumption that there is something inherently wrong with me. I wish I could find that little vestige of doubt and remove it.” Now that you’re an adult, you might still feel a pang of guilt when you decline a dinner invitation in favor of a good book. Or maybe you like to eat alone in restaurants and could do without the pitying looks from fellow diners. Or you’re told that you’re “in your head too much,” a phrase that’s often deployed against the quiet and cerebral. Of course, there’s another word for such people: thinkers.

The traditional Roman wedding was a splendid affair designed to dramatize the bride’s transfer from the protection of her father’s household gods to those of her husband. Originally, this literally meant that she passed from the authority of her father to her husband, but at the end of the Republic women achieved a greater degree of independence, and the bride remained formally in the care of a guardian from her blood family. In the event of financial and other disagreements, this meant that her interests were more easily protected. Divorce was easy, frequent and often consensual, although husbands were obliged to repay their wives’ dowries. The bride was dressed at home in a white tunic, gathered by a special belt which her husband would later have to untie. Over this she wore a flame-colored veil. Her hair was carefully dressed with pads of artificial hair into six tufts and held together by ribbons. The groom went to her father’s house and, taking her right hand in his, confirmed his vow of fidelity. An animal (usually a ewe or a pig) was sacrificed in the atrium or a nearby shrine and an Augur was appointed to examine the entrails and declare the auspices favorable. The couple exchanged vows after this and the marriage was complete. A wedding banquet, attended by the two families, concluded with a ritual attempt to drag the bride from her mother’s arms in a pretended abduction. A procession was then formed which led the bride to her husband’s house, holding the symbols of housewifely duty, a spindle and distaff. She took the hand of a child whose parents were living, while another child, waving a hawthorn torch, walked in front to clear the way. All those in the procession laughed and made obscene jokes at the happy couple’s expense. When the bride arrived at her new home, she smeared the front door with oil and lard and decorated it with strands of wool. Her husband, who had already arrived, was waiting inside and asked for her praenomen or first name. Because Roman women did not have one and were called only by their family name, she replied in a set phrase: “Wherever you are Caius, I will be Caia.” She was then lifted over the threshold. The husband undid the girdle of his wife’s tunic, at which point the guests discreetly withdrew. On the following morning she dressed in the traditional costume of married women and made a sacrifice to her new household gods. By the late Republic this complicated ritual had lost its appeal for sophisticated Romans and could be replaced by a much simpler ceremony, much as today many people marry in a registry office. The man asked the woman if she wished to become the mistress of a household (materfamilias), to which she answered yes. In turn, she asked him if he wished to become paterfamilias, and on his saying he did the couple became husband and wife.

Since my biographer may be too staid Or know too little to affirm that Shade Shaved in his bath, here goes: "He'd fixed a sort Of hinge-and-screw affair, a steel support Running across the tub to hold in place The shaving mirror right before his face And with his toe renewing tap-warmth, he'd Sit like a king there, and like Marat bleed." The more I weigh, the less secure my skin; In places it's ridiculously thin; Thus near the mouth: the space between its wick And my grimace, invited the wicked nick. Or this dewlap: some day I must set free The Newport Frill inveterate in me. My Adam's apple is a prickly pear: Now I shall speak of evil and despair As none has spoken. Five, six, seven, eight, Nine strokes are not enough. Ten. I palpate Through strawberry-and-cream the gory mess And find unchanged that patch of prickliness. I have my doubts about the one-armed bloke Who in commercials with one gliding stroke Clears a smooth path of flesh from ear to chin, Then wipes his faces and fondly tries his skin. I'm in the class of fussy bimanists. As a discreet ephebe in tights assists A female in an acrobatic dance, My left hand help, and holds, and shifts its stance. Now I shall speak...Better than any soap Is the sensation for which poets hope When inspiration and its icy blaze, The sudden image, the immediate phrase Over the skin a triple ripple send Making the little hairs all stand on end As in the enlarged animated scheme Of whiskers mowed when held up by Our Cream.

What would it mean for us to come to terms with the knowledge that civilization, our whole mode of development and culture, has been premised and built upon extermination—on a history experienced as "terror" without end" (to borrow a phrase from Adorno)? To dwell on such a thought would be to throw into almost unbearable relief the distance between our narratives of inherent human dignity and grace and moral superiority, on the one hand, and the most elemental facts of our actual social existence, on the other. We congratulate ourselves for our social progress—for democratic governance and state-protected civil and human rights (however notional or incompletely defended—yet continue to enslave and kill millions of sensitive creatures who in many biological, hence emotional and cognitive particulars resemble us. To truly meditate on such a contradiction is to comprehend our self-understanding to be not merely flawed, but comically delusional... In the nineteenth century, the animal welfare advocate Edward Maitland warned that our destruction of other animals lead only to our own "debasement and degradation of character" as a species. "For the principles of Humanity cannot be renounced with impunity; but their renunciation, if persisted in, involves inevitably the forfeiture of humanity itself. And to cease through such forfeiture man is to become demon." What else indeed can we call a being but demon who routinely enslaves and kills thousands of millions of other gentle beings, imprisons them in laboratories, electrocutes or poisons or radiates or drowns them?

As an anology, consider the word structure. In bacteria, the gene is embedded in the genome in precisely that format, structure, with no breaks, stuffers, interpositions, or interruptions. In the human genome, in contrast, the word is interrupted by intermediate stretches of DNA: s...tru...ct...ur...e. The long stretches of DNA marked by the ellipses (...) do not contain any protein-encoding information. When such an interrupted gene is used to generate a message-i.e., when DNA is used to build RNA-the stuffer frragments are excised from the RNA message, and the RNA is stitched together again with the intervening pieces removed: s...tru...ct...ur...e became simplified to structure. Roberts and Sharp later coined a phrase for the process: gene splicing or RNA splicing (since the RNA message of the gene was "spliced" to removed the stuffer fragments). At first, this split structure of genes seemed puzzling: Why would an animal genome waste such long stretches of DNA splitting genes into bits and pieces, only to stitch them back into a continuous message? But the inner logic of split genes soon became evident: by splitting genes into modules, a cell could generate bewildering combinations of messages out of a single gene. The word s...tru...c...t...ur...e can be spliced to yield cure and true and so forth, thereby creating vast numbers of variant messages-called isoforms-out of a single gene. From g...e...n...om...e you can use splicing to generate gene, gnome, and om. And modular genes also had an evolutionary advantage: the individual modules from different genes could be mixed and matched to build entirely new kinds of genes (c...om...e...t). Wally Gilbert, the Harvard geneticist, created a new word for these modules; he called them exons. The inbetween stuffer fragments were termed introns.

The well-known phrase, 'Women have no character,' really means the same thing. Personality and individuality (intelligible), ego and soul, will and (intelligible) character, all these are different expressions of the same actuality, an actuality the male of mankind attains, the female lacks. But since the soul of man is the microcosm, and great men are those who live entirely in and through their souls, the whole universe thus having its being in them, the female must be described as absolutely without the quality of genius. The male has everything within him, and, as Pico of Mirandola put it, only specialises in this or that part of himself. It is possible for him to attain to the loftiest heights, or to sink to the lowest depths; he can become like animals, or plants, or even like women, and so there exist woman-like female men. The woman, on the other hand, can never become a man. In this consists the most important limitation to the assertions in the first part of this work. Whilst I know of many men who are practically completely psychically female, not merely half so, and have seen a considerable number of women with masculine traits, I have never yet seen a single woman who was not fundamentally female, even when this femaleness has been concealed by various accessories from the person herself, not to speak of others. One must be (chap. i. part I.) either man or woman, however many peculiarities of both sexes one may have, and this 'being,' the problem of this work from the start, is determined by one's relation to ethics and logic; but whilst there are people who are anatomically men and psychically women, there is no such thing as a person who is physically female and psychically male, notwithstanding the extreme maleness of their outward appearance and the unwomanliness of their expression.

The impression conveyed by these phrases of Vinteuil’s was different from any other, as if, in spite of the conclusions which science seems to be reaching, individuals did exist. And it was just when he was doing his utmost to be novel, that one could recognize, beneath the apparent differences, the deep similarities and the planned resemblances that underlay a work, when Vinteuil would pick up a given phrase several times, diversify it, playfully change its rhythm, bring it back again in the original form; this kind of deliberate echo, the product of intelligence, inevitably superficial, could never be so striking as the hidden, involuntary resemblances which sprang to the surface, under different colors, between the two distinct masterpieces; for then Vinteuil, striving powerfully to produce something new, searched into himself, and with all the force of creative effort touched his own essence, at a depth where, whatever question one asks, the soul replies with the same accent—its own. A particular accent, this accent of Vinteuil’s, separated from the accent of other musicians by a distinction much more marked than the one we perceive between the voices of different people, or even between the bellowing and the cry of two animal species; a real difference, the one that existed between the thought of some other musician and the eternal investigations of Vinteuil, the question that he put to himself in so many different forms, his speculation, endlessly painstaking but as free from the analytical forms of reasoning as if it had been conducted in the realm of the angels, so that we can measure its depth but no more translate it into human speech than disembodied spirits can when they are called up by a medium and interrogated about the secrets of death; his own accent, for in the end and even taking into account the acquired originality which had struck me in the afternoon, the family relationship which musicologists could trace between composers, it is to a single, personal voice that those great singers, the original musicians, always return in spite of themselves, a voice which is the living proof of the irreducible individuality of each soul.

The picture of human life in the market-place, though its general tint was the sad gray, brown, or black of the English emigrants, was yet enlivened by some diversity of hue. A party of Indians—in their savage finery of curiously embroidered deerskin robes, wampum-belts, red and yellow ochre, and feathers, and armed with the bow and arrow and stone-headed spear—stood apart with countenances of inflexible gravity, beyond what even the Puritan aspect could attain. Nor, wild as were these painted barbarians, were they the wildest feature of the scene. This distinction could more justly be claimed by some mariners—a part of the crew of the vessel from the Spanish Main—who had come ashore to see the humours of Election Day. They were rough-looking desperadoes, with sun-blackened faces, and an immensity of beard; their wide short trousers were confined about the waist by belts, often clasped with a rough plate of gold, and sustaining always a long knife, and in some instances, a sword. From beneath their broad-brimmed hats of palm-leaf, gleamed eyes which, even in good-nature and merriment, had a kind of animal ferocity. They transgressed without fear or scruple, the rules of behaviour that were binding on all others: smoking tobacco under the beadle's very nose, although each whiff would have cost a townsman a shilling; and quaffing at their pleasure, draughts of wine or aqua-vitae from pocket flasks, which they freely tendered to the gaping crowd around them. It remarkably characterised the incomplete morality of the age, rigid as we call it, that a licence was allowed the seafaring class, not merely for their freaks on shore, but for far more desperate deeds on their proper element. The sailor of that day would go near to be arraigned as a pirate in our own. There could be little doubt, for instance, that this very ship's crew, though no unfavourable specimens of the nautical brotherhood, had been guilty, as we should phrase it, of depredations on the Spanish commerce, such as would have perilled all their necks in a modern court of justice. But the sea in those old times heaved, swelled, and foamed very much at its own will, or subject only to the tempestuous wind, with hardly any attempts at regulation by human law. The buccaneer on the wave might relinquish his calling and become at once if he chose, a man of probity and piety on land; nor, even in the full career of his reckless life, was he regarded as a personage with whom it was disreputable to traffic or casually associate. Thus the Puritan elders in their black cloaks, starched bands, and steeple-crowned hats, smiled not unbenignantly at the clamour and rude deportment of these jolly seafaring men; and it excited neither surprise nor animadversion when so reputable a citizen as old Roger Chillingworth, the physician, was seen to enter the market-place in close and familiar talk with the commander of the questionable vessel.

To be shaken out of the ruts of ordinary perception, to be shown for a few timeless hours the outer and the inner world, not as they appear to an animal obsessed with survival or to a human being obsessed with words and notions, but as they are apprehended, directly and unconditionally, by Mind at Large – thus an experience of inestimable value to everyone and especially to the intellectual. For the intellectual is by definition the man for whom, in Goethe’s phrase, ‘the word is essentially fruitful.’ He is the man who feels that ‘what we perceive by the eye is foreign to us as such and need not impress us deeply.’ And yet, though himself an intellectual and one of the supreme masters of language, Goethe did not always agree with his own evaluation of the word. ‘We talk,’ he wrote in middle life, ‘far too much. We should talk less and draw more. I personally should like to renounce speech altogether and, like organic Nature, communicate everything I have to say in sketches. That fig tree, this little snake, the cocoon on my window sill quietly awaiting its future – all these are momentous signatures. A person able to decipher their meaning properly would soon be able to dispense with the written or the spoken word altogether. The more I think of it, there is something futile, mediocre, even (I am tempted to say) foppish about speech. By contrast, how the gravity of Nature and her silence startle you, when you stand face to face with her, undistracted, before a barren ridge or in the desolation of the ancient hills.’ We can never dispense with language and the other symbol systems; for it is by means of them, and only by their means, that we have raised ourselves above the brutes, to the level of human beings. But we can easily become the victims as well as the beneficiaries of these systems. We must learn how to handle words effectively; but at the same time we must preserve and, if necessary, intensify our ability to look at the world directly and not through that half-opaque medium of concepts, which distorts every given fact into the all too familiar likeness of some generic label or explanatory abstraction. Literary or scientific, liberal or specialist, all our education is predominantly verbal and therefore fails to accomplish what it is supposed to do. Instead of transforming children into fully developed adults, it turns out students of the natural sciences who are completely unaware of Nature as the primary fact of experience, it inflicts upon the world students of the Humanities who know nothing of humanity, their own or anyone else’s. In a world where education is predominantly verbal, highly educated people find it all but impossible to pay serious attention to anything but words and notions. There is always money for, there are always doctrines in, the learned foolery of research into what, for scholars, is the all-important problem: Who influenced whom to say what when? Even in this age of technology the verbal humanities are honoured. The non-verbal humanities, the arts of being directly aware of the given facts of our existence, are almost completely ignored. Every individual is at once the beneficiary and the victim of the linguistic tradition into which he has been born - the beneficiary in as much as language gives access to the accumulated records of other people's experience, the victim in so far as it confirms him in the belief that reduced awareness is the only awareness and as it bedevils his sense of reality, so that he is all too apt to take his concepts for data, his words for actual things. That which, in the language of religion, is called "this world" is the universe of reduced awareness, expressed, and, as it were, petrified by language.

From an essay on early reading by Robert Pinsky: My favorite reading for many years was the "Alice" books. The sentences had the same somber, drugged conviction as Sir John Tenniel's illustrations, an inexplicable, shadowy dignity that reminded me of the portraits and symbols engraved on paper money. The books were not made of words and sentences but of that smoky assurance, the insistent solidity of folded, textured, Victorian interiors elaborately barricaded against the doubt and ennui of a dreadfully God-forsaken vision. The drama of resisting some corrosive, enervating loss, some menacing boredom, made itself clear in the matter-of-fact reality of the story. Behind the drawings I felt not merely a tissue of words and sentences but an unquestioned, definite reality. I read the books over and over. Inevitably, at some point, I began trying to see how it was done, to unravel the making--to read the words as words, to peek behind the reality. The loss entailed by such knowledge is immense. Is the romance of "being a writer"--a romance perhaps even created to compensate for this catastrophic loss--worth the price? The process can be epitomized by the episode that goes with one of my favorite illustrations. Alice has entered a dark wood--"much darker than the last wood": [S]he reached the wood: It looked very cool and shady. "Well, at any rate it's a great comfort," she said as she stepped under the trees, "after being so hot, to get into the--into the--into what?" she went on, rather surprised at not being able to think of the word. "I mean to get under the--under the--under this, you know!" putting her hand on the trunk of the tree. "What does it call itself, I wonder? I do believe it's got no name--why to be sure it hasn't!" This is the wood where things have no names, which Alice has been warned about. As she tries to remember her own name ("I know it begins with L!"), a Fawn comes wandering by. In its soft, sweet voice, the Fawn asks Alice, "What do you call yourself?" Alice returns the question, the creature replies, "I'll tell you, if you'll come a little further on . . . . I can't remember here". The Tenniel picture that I still find affecting illustrates the first part of the next sentence: So they walked on together through the wood, Alice with her arms clasped lovingly round the soft neck of the Fawn, till they came out into another open field, and here the Fawn gave a sudden bound into the air, and shook itself free from Alice's arm. "I'm a Fawn!" it cried out in a voice of delight. "And dear me! you're a human child!" A sudden look of alarm came into its beautiful brown eyes, and in another moment it had darted away at full speed. In the illustration, the little girl and the animal walk together with a slightly awkward intimacy, Alice's right arm circled over the Fawn's neck and back so that the fingers of her two hands meet in front of her waist, barely close enough to mesh a little, a space between the thumbs. They both look forward, and the affecting clumsiness of the pose suggests that they are tripping one another. The great-eyed Fawn's legs are breathtakingly thin. Alice's expression is calm, a little melancholy or spaced-out. What an allegory of the fall into language. To imagine a child crossing over from the jubilant, passive experience of such a passage in its physical reality, over into the phrase-by-phrase, conscious analysis of how it is done--all that movement and reversal and feeling and texture in a handful of sentences--is somewhat like imagining a parallel masking of life itself, as if I were to discover, on reflection, that this room where I am writing, the keyboard, the jar of pens, the lamp, the rain outside, were all made out of words. From "Some Notes on Reading," in The Most Wonderful Books (Milkweed Editions)

As the English historian Marc Gold wrote in 1995, “The term animal rights is nothing more than a useful kind of shorthand for a movement based on the recognition that non-human animals live purposeful emotional lives and are as capable of suffering as humans. … kindness and tolerance for those different and weaker than ourselves are amongst the highest possible human aspirations.” But the connections by no means stop there. The phrase “animal rights” also connected people with “nature,” “the environment,” the local ecological world in and beyond their backyards, and, incredibly, with other humans in a variety of ways. Of great significance for the future, it seemed to me, was a pattern of children pushing their parents to consider “the animals.

We remember England’s “terms of venery”— the jargon of hunting— for giving us specific words for groups of animals, such as a school of fish or a pride of lions , and also for such quaintly forgotten phrases as “a tiding of magpies” and “a kindle of cats.” Experts suggest that many of the terms that amuse us today—“ an unkindness of ravens,” “a shrewdness of apes,” “a disworship of Scots”— were fanciful even in their own time and never in common use. The true language of venery, however, did more than describe beasts by the bunch; it richly evoked their behavior. The lark’s habit of flying into the air to sing was known as “exalting.” The nocturnal song of nightingales was called “watching,” from the idea of keeping a watch through the darkness. Venery’s description of animal sounds was poetic, but also accurate: weasels really do “squeak,” mice really do “cheep.” Goldfinches chirm, boars girn, starlings murmur, geese creak. The seemingly slow, ambling walk of bears was referred to as “slothing.” Ordinary life in the past had an intimacy with other species that today we mainly associate with trained biologists and dedicated naturalists.

A starving pariah dog with the appearance of having lately been skinned had squeezed itself in after the last man; it looked up at the Consul with beady, gentle eyes. Then, thrusting down its poor wrecked dinghy of a chest, from which raw withered breasts drooped, it began to bow and scrape before him. Ah, the ingress of the animal kingdom! Earlier it had been the insects; now these were closing in upon him again, these animals, these people without ideas: "Dispense usted, por Dios," he whispered to the dog, then wanting to say something kind, added, stooping, a phrase read or heard in youth or childhood: "For God sees how timid and beautiful you really are, and the thoughts of hope that go with you like little white birds--

aardvark; aardwolf. Both these animals dig in the earth for termites and ants, the former somewhat resembling a pig, the latter looking a little like a striped wolf. Thus the Boers in South Africa named them, respectively, the aardvark (from the Dutch aard, "earth," plus vark, "pig") or "earth pig," and aardwolf, or "earth wolf.

The most primal affective-cognitive interaction in humans, and presumably other animals as well, is encapsulated in the phrases “I want” and “I don’t want.” These assertions are reflected in basic tendencies to approach and avoid various real-life phenomena. However, there are several distinct ways to like and dislike events, and a proper classification scheme will yield a more complex taxonomy of emotions than the simple behavioral dimension of approach and avoidance. For instance, it seems unlikely that the dislike of bitter foods and the dislike of physical pain emerge from one and the same avoidance system. It is equally unlikely that the desire for food and the urge to play emerge from the same brain systems.

Even in the wake of tragedy, we could not have felt more amazed had we been visited by an angel that Christmas morning. When the angel met the shepherds in Bethlehem, the shepherds "were sore afraid." When I was a child, that phrase had always seemed odd to me...but now that I have thought more deeply about these words of scripture, it seems to me that the angels must have been more like our Christmas weasel: glorious in purity, strength, and holy perfection.

Right in the middle of a Stevie Wonder concert, right in the middle of this musical trance, this electronic night with thousands in the stadium, a night worthy of Metropolis with the thousands of cerebro-motor slaves gyrating to the rhythm of synthesizers and all the lighter flames serving as a luminous ovation - a new ritual worthy of the catacombs - I feel a total coldness, complete indifference to this faked music, without the slightest melodic phrase, music of a pitiless technicity. Everything is both visceral and coded at the same time. A strictly regulated release, a cold ceremonial, very far in human terms from its own musical savagery, which is merely that of technology. Only the visual impact remains, the spectacle of the crowd and its phYSical idolatry, particularly as the idol is blind and directs the whole thing with his dead eyes, exiled from the world and its tumult, but absorbing it all like an animal. The same air of sacredness as with Borges. The same translucidity of the blind, who enjoy the benefits of the silence of light and therefore of blackmail by lucidity. But modern idolatry is not easily accepted; the bodies stay clenched. Technicity wins out over frenzy in the new metropolitan nights. Growing old is not the approach of a biological term. It is the ever lengthening spiral which distances you from the physical and intellectual openness of your youth. Eventually, the spiral becomes so long that all chance of return is lost. The parabola becomes eccentric, and the peak of one's life-curve gets lost in space. Simultaneously the echo of pleasures in time becomes shorter. One ceases to find pleasure in pleasure. Things live on in nostalgia, and their echo becomes that of a previous life. This is the second mirror phase, and the beginning of the third age.

But a very different hypothesis emerges from a careful examination of the evidence for the biological and cultural evolution of our species, namely the sign progression theory of language origin. This phrase means simply that language emerges gradually from indexes (items that represent things they are physically connected to, such as a footprint to an animal) to icons (things that physically resemble the things they are used to represent, such as a portrait for the real person) and finally by creating symbols (conventional ways of representing meaning that are largely arbitrary).

Christopher reached out to pet Hector, who nuzzled against his hand. His gentleness with the animal was reassuring. Perhaps, Beatrix thought hopefully, he wasn’t as angry as she had feared Taking a deep breath, she said, “The reason that I named him Hector--” “No,” Christopher moved with startling swiftness, trapping her against the post of the stall. His voice was low and rough. “Let’s start with this: did you help Prudence to write those letters?” Beatrix’s eyes widened as she looked into his shadowed face. Her blood surged, a flush rising to the surface of her skin. “No,” she managed to say, “I didn’t help her.” “Then who did?” “No one helped her.” It was the truth. It just wasn’t the entire truth. “You know something,” he insisted. “And you’re going to tell me what it is.” She could feel his fury. The air was charged with it. Her heart thrummed like a bird’s. And she struggled to contain a swell of emotion that was almost more than she could bear. “Let me go,” she said with exceptional calm. “You’re doing neither of us any good with this behavior.” His eyes narrowed dangerously. “Don’t use your bloody dog-training voice on me.” “That wasn’t my dog-training voice. And if you’re so intent on getting at the truth, why aren’t you asking Prudence?” “I have asked her. She lied. As you are lying now.” “You’ve always wanted Prudence,” Beatrix burst out. “Now you can have her. Why should a handful of letters matter?” “Because I was deceived. And I want to know how and why.” “Pride,” Beatrix said bitterly. “That’s all this is to you…your pride was hurt.” One of hands sank into her hair, gripping in a gentle but inexorable hold. A gasp slipped from her throat as he pulled her head back. “Don’t try to diver the conversation. You know something you’re not telling me.” His free hand came to the exposed line of her throat. For a heart-stopping moment she thought he might choke her. Instead he caressed her gently, his thumb moving in a subtle swirl in the hollow at the base. The intensity of her own reaction astonished her. Beatrix’s eyes half closed. “Stop,” she said faintly. Taking her responsive shiver as a sign of distaste or fear, Christopher lowered his head until his breath fanned her cheek. “Not until I have the truth.” Never. If she told him, he would hate her for the way she had deceived and abandoned him. Some mistakes could not be forgiven. “Go to hell,” Beatrix said unsteadily. She had never used such a phrase in her life. “I am in hell.” His body corralled hers, his legs intruding amid the folds of her skirts. Drowning in guilt and fear and desire, she tried to push his caressing hand away from her throat. His fingers delved into her hair with a grip just short of painful. His mouth was close to hers. He was surrounding her, all the strength and force and maleness of him, and she closed her eyes as her senses went quiet and dark in helpless waiting. “I’ll make you tell me,” she heard him mutter. And then he was kissing her. Somehow, Beatrix thought hazily, Christopher seemed to be under the impression she would find his kisses so objectionable that she would confess anything to make him desist. She couldn’t think how he had come by such a notion. In fact, she couldn’t really think at all.

It began with the socialist doctrine. You know their doctrine; crime is a protest against the abnormality of the social organisation and nothing more, and nothing more; no other causes admitted! … ’ ‘You are wrong there,’ cried Porfiry Petrovitch – he was noticeably animated and kept laughing as he looked at Razumihin, which made him more excited than ever. ‘Nothing is admitted,’ Razumihin interrupted with heat. ‘I am not wrong. I’ll show you their pamphlets. Everything with them is “the influence of environment”, and nothing else. Their favourite phrase! From which it follows that, if society is normally organised, all crime will cease at once, since there will be nothing to protest against and all men will become righteous in one instant. Human nature is not taken into account, it is excluded, it’s not supposed to exist! They don’t recognise that humanity, developing by a historical living process, will become at last a normal society, but they believe that a social system that has come out of some mathematical brain is going to organise all humanity at once and make it just and sinless in an instant, quicker than any living process! That

The crowd began to murmur in the indistinguishable syllables of backstage banter. As the ball ascended, so did the volume of the murmurs. Words could be made out. Then phrases. “Lovely golf stroke.” “Super golf shot.” “Beautiful golf shot.” “Truly fine golf stroke.” They always said golf stroke, like someone might mistake it for a swim stroke, or—as Myron was currently contemplating in this blazing heat—a sunstroke. “Mr. Bolitar?” Myron took the periscope away from his eyes. He was tempted to yell “Up periscope,” but feared some at stately, snooty Merion Golf Club would view the act as immature. Especially during the U.S. Open. He looked down at a ruddy-faced man of about seventy. “Your pants,” Myron said. “Pardon me?” “You’re afraid of getting hit by a golf cart, right?” They were orange and yellow in a hue slightly more luminous than a bursting supernova. To be fair, the man’s clothing hardly stood out. Most in the crowd seemed to have woken up wondering what apparel they possessed that would clash with, say, the free world. Orange and green tints found exclusively in several of your tackiest neon signs adorned many. Yellow and some strange shades of purple were also quite big—usually together—like a color scheme rejected by a Midwest high school cheerleading squad. It was as if being surrounded by all this God-given natural beauty made one want to do all in his power to offset it. Or maybe there was something else at work here. Maybe the ugly clothes had a more functional origin. Maybe in the old days, when animals roamed free, golfers dressed this way to ward off dangerous wildlife. Good

Their concept of knowledge was eloquently expressed, for instance, by Muâdh b. Jabal (d. 18/639, one of the trusted lieutenants of the Prophet, and certainly no forerunner of Sufism): “Study knowledge, for studying knowledge is the fear of God. Searching for knowledge is the worship of Him. Learning knowledge is the glorification of Him. Doing research in knowledge is a holy war in His behalf. Teaching knowledge to those who do not know is charity. And lavishing knowledge upon those who deserve it is nearness to God. Knowledge is a friend in loneliness. It is company for him who is all by himself. It is a guide under any circumstances whatever, an ornament among friends, a relative among strangers, and a lighthouse on the road to Paradise. Through knowledge, God lifts up people and makes them guides toward the good (life) who serve as examples to be followed and whose actions are studied and imitated and whose opinions are accepted. Their friendship is desired by the angels who touch them with their wings. In consequence, everything wet or dry asks for forgiveness for them, down to the fish and the reptiles of the sea and the wild beasts and the domestic animals of the land, as well as heaven and its stars. Knowledge is the life of the heart after blindness (?), the light of the eyes after darkness, and the strength of the body after weakness. Through knowledge, man reaches the stations of the pious and the highest ranks. Reflecting upon knowledge and learning it are considered equivalent to the performance of fasting. It is an act of obedience to God, of worship of Him, and of declaring His oneness. It constitutes ascetic behavior. It accomplishes the strengthening of family ties. Knowledge is the leader, and action is its follower. It is an inspiration given to the blessed. It is something that is denied to the unfortunate.” Such general praise of knowledge is heard constantly throughout Muslim history, in almost the same words and phrases. Here, however, it is used as an argument, obviously fictious and unhistorical, to prove the exclusive concern of the ancient Muslims with knowledge, in the Sufî sense.

What would it mean for us to come to terms with the knowledge that civilization, our whole mode of development and culture, has been premised and built upon extermination—on a history experienced as "terror" without end" (to borrow a phrase from Adorno)? To dwell on such a thought would be to throw into almost unbearable relief the distance between our narratives of inherent human dignity and grace and moral superiority, on the one hand, and the most elemental facts of our actual social existence, on the other. We congratulate ourselves for our social progress—for democratic governance and state-protected civil and human rights (however notional or incompletely defended—yet continue to enslave and kill millions of sensitive creatures who in many biological, hence emotional and cognitive particulars resemble us. To truly meditate on such a contradiction is to comprehend our self-understanding to be not merely flawed, but comically delusional... In the nineteenth century, the animal welfare advocate Edward Maitland warned that our destruction of other animals lead only to our own "debasement and degradation of character" as a species. "For the principles of Humanity cannot be renounced with impunity; but their renunciation, if persisted in, involves inevitably the forfeiture of humanity itself. And to cease through such forfeiture man is to become demon." What else indeed can we call a being but demon who routinely enslaves and kills thousands of millions of other gentle beings, imprisons them in laboratories, electrocutes or poisons or radiates or drowns them?

The science fiction novelist Isaac Asimov reportedly once said, “The most exciting phrase to hear in science, the one that heralds new discoveries, is not ‘Eureka!’ but ‘That’s funny.

To be shaken out of the ruts of ordinary perception, to be shown for a few timeless hours the outer and the inner world, not as they appear to an animal obsessed with survival or to a human being obsessed with words and notions, but as they are apprehended, directly and unconditionally, by Mind at Large – thus an experience of inestimable value to everyone and especially to the intellectual. For the intellectual is by definition the man for whom, in Goethe’s phrase, ‘the word is essentially fruitful.’ He is the man who feels that ‘what we perceive by the eye is foreign to us as such and need not impress us deeply.’ And yet, though himself an intellectual and one of the supreme masters of language, Goethe did not always agree with his own evaluation of the word. ‘We talk,’ he wrote in middle life, ‘far too much. We should talk less and draw more. I personally should like to renounce speech altogether and, like organic Nature, communicate everything I have to say in sketches. That fig tree, this little snake, the cocoon on my window sill quietly awaiting its future – all these are momentous signatures. A person able to decipher their meaning properly would soon be able to dispense with the written or the spoken word altogether. The more I think of it, there is something futile, mediocre, even (I am tempted to say) foppish about speech. By contrast, how the gravity of Nature and her silence startle you, when you stand face to face with her, undistracted, before a barren ridge or in the desolation of the ancient hills.’ We can never dispense with language and the other symbol systems; for it is by means of them, and only by their means, that we have raised ourselves above the brutes, to the level of human beings. But we can easily become the victims as well as the beneficiaries of these systems. We must learn how to handle words effectively; but at the same time we must preserve and, if necessary, intensify our ability to look at the world directly and not through that half-opaque medium of concepts, which distorts every given fact into the all too familiar likeness of some generic label or explanatory abstraction. Literary or scientific, liberal or specialist, all our education is predominantly verbal and therefore fails to accomplish what it is supposed to do. Instead of transforming children into fully developed adults, it turns out students of the natural sciences who are completely unaware of Nature as the primary fact of experience, it inflicts upon the world students of the Humanities who know nothing of humanity, their own or anyone else’s.

Let us start from a hypothesis, Herr Cabal,’ said Mr Bose, with wheedling enthusiasm. ‘And let that hypothesis start from a question. Is the human creature as perfect in function as it might be?’ ‘Meaningless,’ replied Cabal, ‘with no definition as to what that function might conceivably be. We are good communicators, passable runners, middling swimmers, and poor at flying.’ ‘Just so. But even there, we are capable of communications of great subtlety over very long distances, we build locomotives that can outrun the fastest animal, steam launches that can give even dolphins a good run for their money, and aeroships that have formed our conquest of the skies. You see my point, of course. But do you take my greater meaning?’ ‘Natürlich. You are suggesting that the function of the human creature, to use your phrase, is to adapt itself to its environment or even to adapt its environment to itself by virtue of its intelligence. Then my answer is no. Humanity is nowhere near perfection even with regard only to its intellect. Have you ever looked at your fellow man? It is not edifying. I have hopes that time and evolutionary forces may improve matters or, failing that, eliminate us and give something else a chance. I think the insects deserve a turn.’ ‘But in the shorter term, how may we improve ourselves?’ Cabal shrugged. ‘Eugenics. Kill the lawyers. Vitamins. There have been all manner of suggestions.

To live headlong, at ground level, without being able to pause (stand outside the immediate push of time) and rise (in space) is to be like an animal; yet to float off up into the air is not to live at all – just to be a detached observing eye. One needs to bring what one has learned from one’s ascent back into the world where life is going on, and incorporate it in such a way that it enriches experience and enables more of whatever it is that ‘discloses itself’ to us (in Heidegger’s phrase) to do just that.

Newspapers usually describe globalization in purely economic terms, but it is also a biological phenomenon; indeed, from a long-term perspective it may be primarily a biological phenomenon. Two hundred and fifty million years ago the world contained a single landmass known to scientists as Pangaea. Geological forces broke up this vast expanse, splitting Eurasia and the Americas. Over time the two divided halves of Pangaea developed wildly different suites of plants and animals. Before Colón a few venturesome land creatures had crossed the oceans and established themselves on the other side. Most were insects and birds, as one would expect, but the list also includes, surprisingly, a few farm species—bottle gourds, coconuts, sweet potatoes—the subject today of scholarly head-scratching. Otherwise, the world was sliced into separate ecological domains. Colón’s signal accomplishment was, in the phrase of historian Alfred W. Crosby, to reknit the seams of Pangaea.

Well, Doctor Dillamond seemed to think they were in questionable taste, given the Banns on Animals Mobility." "Doctor Dillamond, alas," said Madame Morrible, "is a doctor. He is not a poet. He is also a God, and I might ask you girls if we have ever had a great Goat sonneteer or balladeer? Alas, dear Miss Elphaba, Doctor Dillamond doesn't understand the poetic convention of irony. Would you like to define irony for the class, please?" "I don't believe I can, Madame." "Irony, some say, is the art of juxtaposing incongruous parts. One needs a knowing distance. Irony presupposes detachment, which, alas, in the case of Animal Rights, we may forgive Doctor Dillamond for being without." "So that phrase that he objected to - Animals should be seen and not heard - that was ironic?" continued Elphaba, studying her papers and not looking at Madame Morrible. Galinda and her classmates were enthralled, for it was clear that each of the females at opposite ends of the room would have enjoyed seeing the other crumble in a sudden attack of the spleen. "One could consider it in an ironic mode if one chose," said Madame Morrible. "How do you choose?" said Elphaba. "How impertinent!" said Madame Morrible. "Well, but I don't mean impertinence. I'm trying to learn. If you - if anyone - thought that statement was true, then it isn't in conflict with the boring bossy bit that preceded it. It's just argument and conclusion, and I don't see the irony." "You don't see much, Miss Elphaba," said Madame Morrible. "You must learn to put yourself in the shoes of someone wiser than you are, and look from that angle. To be stuck in ignorance, to be circumscribed by the walls of one's own modest acumen, well, it is very sad in one so young and bright." She spit out the last word, and it seemed to Galinda, somehow, a low comment on Elphaba's skin color, which today was indeed lustrous with the effort of public speaking. "But I was trying to put myself in the shoes of Doctor Dillamond," said Elphaba, almost whining, but not giving up. "In the case of poetic interpretation, I venture to suggest, it may indeed be true. Animal should not be heard," snapped Madame Morrible. "Do you mean that ironically?" said Elphaba, but she sat down with her hands over her face and did not look up again for the rest of the session.

Raised on Walt Disney, most of us hear the phrase “Mirror, mirror, on the wall, who’s the fairest of them all?” and the first image that pops into our heads is that of the evil stepmother with her stark white face and red lips in the animated film and book spin-offs of Snow White. But like other folktales collected by the Brothers Grimm, their original source—and indeed their first version of the story, published in 1812—wasn’t about an evil stepmother but a mother-daughter pair, and it was Snow White’s own mother who was her envious antagonist. In the original version, the beautiful queen who pricks her finger while sewing and wishes for a child “as white as snow, as red as blood, and as black as the sewing frame” gives birth to Snow White. It is Snow White’s own mother who, obsessed with her own beauty, checks her magic mirror when Snow White is seven only to hear that her daughter, not she, is “the fairest of them all.” It is Snow White’s mother who tries her best to have her daughter killed throughout the rest of the story until innocence trumps maternal envy in the end. By 1819, the Grimm Brothers had banished to the cupboard of taboos the psychological truth mirrored in the original folktale—of the potential rivalry between a mother and daughter, or maternal envy—by having the “real” mother die after giving birth and a sinister stepmother take her place.

It’s easier to like animals than people, and there’s a reason for that. When animals make a stupid mistake, you laugh at them. A cat misjudges a leap. A dog looks overly quizzical about a simple object. These are funny things. But when a person doesn’t understand something, if they miscalculate and hit the brakes too late, blame is assigned. They are stupid. They are wrong. Teachers and cops are there to sort it out, with a trail of paperwork to illustrate the stupidity. The faults. The evidence and incidents of these things. We have entire systems in place to help decide who is what. Sometimes the systems don’t work. Families spend their weekend afternoons at animal shelters, even when they’re not looking for a pet. They come to see the unwanted and unloved. The cats and dogs who don’t understand why they are these things. They are petted and combed, walked and fed, cooed over and kissed. Then they go back in their cages and sometimes tears are shed. Fuzzy faces peering through bars can be unbearable for many. Change the face to a human one and the reaction changes. The reason why is because people should know better. But our logic is skewed in this respect. A dog that bites is a dead dog. First day at the shelter and I already saw one put to sleep, which in itself is a misleading phrase. Sleep implies that you have the option of waking up. Once their bodies pass unconsciousness to something deeper where systems start to fail, they revolt a little bit, put up a fight on a molecular level. They kick. They cry. They don’t want to go. And this happens because their jaws closed over a human hand, ever so briefly. Maybe even just the once. But people, they get chances. They get the benefit of the doubt. Even though they have the higher logic functioning and they knew when they did it THEY KNEW it was a bad thing.

One cannot but wonder at this constantly recurring phrase getting something for nothing, as if it were the peculiar and perverse ambition of disturbers of society. Except for our animal outfit, practically all we have is handed us gratis. Can the most complacent reactionary flatter himself that he invented the art of writing or the printing press, or discovered his religious, economic, and moral convictions, or any of the devices which supply him with meat and raiment or any of the sources of such pleasure as he may derive from literature or the fine arts? In short, civilization is little else than getting something for nothing.

You never know, he thought. You just never know. You drift along, year after year, presuming certain values to be fixed; like being able to drive on a public thoroughfare without somebody trying to murder you. You come to depend on that sort of thing. Then something occurs and all bets are off. One shocking incident and all the years of logic and acceptance are displaced and, suddenly, the jungle is in front of you again. Man, part animal, part angel. Where had he come across that phrase? He shivered.

The principle of human action is the thought of good and evil and thus good and evil. In this, in its principle, lies the infinite difference of human action from animal movement. Perhaps this is not evident when we confine our attention to things done like baking a cake. Not because human action is something other than baking cakes and the like. But because it is not possible to understand what it is to bake a cake without its wider context, as Thompson puts it in a phrase of Anscombe’s. This wider context is thought in thought of the good. And the wider context of human action is infinitely different from that of animal action. For it is not just wider; it is the widest. The context of human action is illimitable. This character of the principle of human action affects its temporality. As its principle is illimitable, so is its temporality. Human action is temporal in such a way as to be all time and eternity. This comes out in the way in which my action is not over when it’s over: I repent, I am punished. My past is my present, which thus is eternity, or hell. And it comes out in the way in which my action may be undone: I confess, I am forgiven. My past is annulled, it is perfectly powerless in my present, which thus is eternity, or heaven.

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In light of religious diversity down through the ages and across continents, almost any behavior or belief might be defended or sanctioned if one leans on an isolated phrase, sentence, or story from sacred texts, or an obscure religious document. Therefore, when assessing the importance of religious assertions, it is important to determine whether or not the basis for a given assertion is found in primary or secondary texts, whether the teachings are credited to an individual who carries little or much weight within the religious tradition, and whether or not the assertion is an anomaly in a tradition that overwhelmingly supports an opposing point of view. It is also important to scrutinize translations when assessing critical passages.

Yet there was no suitable counterpart among the animals for Adam. This was because none of the animals bore the image of God, and an adequate counterpart must bear the image of God just as Adam was made in the image of God. It is claimed that the first unambiguous reference to “Adam” as a personal name does not occur until Genesis 5:1, but the evidence of verse 20 seriously contests that claim, especially as it comes within the context of naming the animals. The phrase lĕʾādām in the Masoretic Text reads as a proper name since it appears without the definite article, which indicates a proper name in Hebrew. Jewish scholar Nahum Sarna comments, “The Hebrew vocalization lĕʾādām makes the word a proper name for the first time, probably because the narrative now speaks of the man as a personality rather than an archetypal human.

26.11. my soul. Does God have a soul? This is the only place in the Torah that refers to the deity's nepeš (although a related verbal form, wayyinnāpaš, ocurs in Exod 31:17). Elsewhere, the word refers to the living quality in humans and animals and is associated with breath. It is usually understood to mean soul, person, being, and life. It might possibly help us to understand what is meant by creation in the image of God, but that seems unlikely since animals are said to have a nepeš there as well, but they are not said to be in the divien image (Gen 1:24-27). We must be cautious in using the word's occurrences here to conclude anything about the Torah's conception of God, because both of these occurrences are in the phrase "my soul will scorn." This phrase may simply have been a known expression.

That car should say ‘Science for all hominids!’” the ape cried. “Are we not hominids, too, just like the humans?” The apes roared in agreement, pounding their chests and stamping their feet. Teeth bared and eyes glinting, the apes leapt onto the car, vociferating the phrase, “For homo erectus!

To get his ducks in a row. Odd expression. Can you imagine how hard that would actually be? With real ducks?” “So he could make his killing.” “Yes. But you let the cat out of the bag. Another odd turn of phrase. What sort of bastard would put a cat in a bag in the first place? What is it about us and animals?

Aquinas believed in the soul, as Daniel Dennett and Richard Dawkins do not; but one reason he did so was because he thought it yielded the richest possible understanding of the lump of matter known as the body. As Wittgenstein once remarked: if you want an image of the soul, look at the body. The soul for Thomas is not some ghostly extra, as it was for the platonizing Christians of his time; it is not to be seen as a spiritual kidney or spectral pancreas. The question “Whereabouts in the body is the soul?” would to his mind involve a category mistake, as though one were to ask how close to the left armpit one’s envy was located. For Aquinas, the soul is everywhere in the body precisely because it is what he calls, after Aristotle, the “form” of it, meaning the way in which it is uniquely organized to be expressive of meaning. The soul is not some sort of thing, but the distinctive way in which a particular piece of matter is alive. It is quite as visible as a club foot. To claim that a spider has a different sort of soul from a human being is in Thomas’s view simply to say that it has a different form of life. What distinguishes an animal body from a hat or a hosepipe is the fact that it is signifying, communicative, self-transformative stuff, in contrast to the meaninglessly dumb matter of so much contemporary materialism. It is, in Turner’s phrase, “matter articulate.

Okay, well, if we were to be created in a video game, as Martin pointed out, and there is a creator who has created us and has full control over us because we are merely holograms or animations, then giving credence to this anti-reality would actually be illogical,” I asserted. “As I mentioned earlier, I had to agree with Rene Descartes and the phrase ‘I think. Therefore, I am.’ We have the ability to think, and if we were holograms in the deterministic anti-reality, then we shouldn’t be able to feel, reason, acquire consciousness, or interpret sensory experience, but we do. Living in a deterministic anti-reality like a video game would make us have no control over how we think, but we do have control over how we think, not the creator, so we are not holograms or animations that are controlled by someone, because we have control over our thoughts.” “But what if the creator controls our thoughts?” Martin asked. “That is more proof that we are not living in a deterministic anti-reality. It really reminds me of how Rene Descartes devised the phrase ‘I think. Therefore, I am.’ He reasoned that if there was a devil who came to cause him to THINK that he exists even when he does not, then for him to be able to think that he exists, he has to henceforth exist. Likewise, if our thoughts were to be controlled by a creator, then that would mean we would exist, because for our thoughts to be controlled, we would have to have the ability to think, but since we think, we would have to have had some kind of control over our thoughts at some point of our lives. Once again, a deterministic anti-reality is where we have no control over ourselves, because we are non-real beings created by someone who lives in reality, but since there is no creator who has full control over our thoughts, then we don’t live in a deterministic anti-reality. The closest thing to our thoughts being ‘controlled’ is a change of opinion, like what might happen after being persuaded, but because we have control over our thoughts while we are thinking, our thoughts are not being controlled; WE are just changing them based on our own freewills.

Publishers Weekly, September 9, 2022 The Donkey’s Song: A Christmas Nativity Story "The humble donkey that transported Mary to the Bethlehem stable describes the sights, smells, and sounds it experiences in this peaceful imagining of Jesus’s birth. Using short rhyming stanzas and reiterative phrasing (“A bit of a manger,/ a bit of snug hay,/ a bit of a soft, silent night”), debut author Kellum creates an understated tone matched by Hanson’s pastoral scenes, which are gently washed in light. Friendly-faced farm animals—including the large-headed donkey and a kind, sprightly mouse—fill most of the spreads, leading in closing pages to the donkey’s moving song: “I lifted my head/ above His hay bed...// ...and sang of this morning of grace.” A sweet and gentle introduction to the nativity story". Ages 3–7. (Oct.) - Publishers Weekly

What even is a voice? It’s the sound one makes with one’s larynx. The way one makes oneself heard. Breath, vibration, a style of narration. Phrasing. And when you’re singing from your bones and bowels, these things don’t need explaining. Everyone can feel it in their bones and bowels, animals and plants included. An unpasteurized experience. Honesty is the ultimate life giver. What would you do with all the energy you’d save if you never had to lie?

Instead of the act of killing, the Law emphasizes two other parts of the ritual: burning the animal’s flesh and applying its blood to some part of the sanctuary.30 These actions could only be performed by priests—a restriction emphasized by Leviticus’s punctilious repetition of the phrase “the priests, the sons of Aaron.” Moreover, they could only be performed in particularly holy places: the flesh was burned on the bronze altar, and the blood was poured or daubed either there or within the sanctuary itself. Being performed by holy persons in holy places, these actions were marked as especially holy—the pinnacle of the ritual.

I am sitting here, you are sitting there. Say even that you are sitting across the kitchen table from me right now. Our eyes meet; a consciousness snaps back and forth. What we know, at least for starters, is: here we- so incontrovertibly- are. This is our life, these are our lighted seasons, and then we die. In the meantime, in between time, we can see. The scales are fallen from our eyes, the cataracts are cut away, and we can work at making sense of the color-patches we see in an effort to discover where we so incontrovertibly are. I am as passionately interested in where I am as is a lone sailor sans sextant in a ketch on an open ocean. I have at the moment a situation which allows me to devote considerable hunks of time to seeing what I can see, and trying to piece it together. I’ve learned the name of some color-patches, but not the meanings. I’ve read books; I’ve gathered statistics feverishly: the average temperature of our planet is 57 degrees F…The average size of all living animals, including man, is almost that of a housefly. The earth is mostly granite, which is mostly oxygen…In these Appalachians we have found a coal bed with 120 seams, meaning 120 forests that just happened to fall into water…I would like to see it all, to understand it, but I must start somewhere, so I try to deal with the giant water bug in Tinker Creek and the flight of three hundred redwings from an Osage orange and let those who dare worry about the birthrate and population explosion among solar systems. So I think about the valley. And it occurs to me more and more that everything I have seen is wholly gratuitous. The giant water bug’s predations, the frog’s croak, the tree with the lights in it are not in any real sense necessary per se to the world or its creator. Nor am I. The creation in the first place, being itself, is the only necessity for which I would die, and I shall. The point about that being, as I know it here and see it, is that as I think about it, it accumulates in my mind as an extravagance of minutiae. The sheer fringe and network of detail assumes primary importance. That there are so many details seems to be the most important and visible fact about creation. If you can’t see the forest for the trees, then look at the trees; when you’ve looked at enough trees, you’ve seen a forest, you’ve got it. If the world is gratuitous, then the fringe of a goldfish’s fin is a million times more so. The first question- the one crucial one- of the creation of the universe and the existence of something as a sign and an affront to nothing is a blank one… The old Kabbalistic phrase is “the Mystery of the Splintering of the Vessels.” The words refer to the shrinking or imprisonment of essences within the various husk-covered forms of emanation or time. The Vessels splintered and solar systems spun; ciliated rotifers whirled in still water, and newts laid tracks in the silt-bottomed creek. Not only did the Vessels splinter; they splintered exceeding fine. Intricacy then is the subject, the intricacy of the created world.