Preserving Art Quotes

I am an extremely sincere individual. I am sincere, to a fault. One of the many things that I have come to realize, to learn, is that sincerity must be reserved and given only to those who deserve it. And one must save one's emotions, channeling them only to the people who are worthy of it. One must not throw one's pearls to the pigs.

I feel the only thing you can do about life is to preserve it, by art if you're an artist, by children if you're not.

Good art wounds as well as delights. It must, because our defenses against the truth are wound so tightly around us. But as art chips away at our defenses, it also opens us to healing potentialities that transcend intellectual games and ego-preserving strategies.

Mature love is union under the condition of preserving one’s integrity, one’s individuality. Love is an active power in man; a power which breaks through the walls which separate man from his fellow men, which unites him with others; love makes him overcome the sense of isolation and separateness, yet it permits him to be himself, to retain his integrity. In love the paradox occurs that two beings become one and yet remain two.

The art of progress is to reserve order amid change, and to preserve change amid order.

In the coming days and weeks, Laila would scramble frantically to commit it all to memory, what happened next. Like an art lover running out of a burning museum, she would grab whatever she could--a look, a whisper, a moan--to salvage from perishing to preserve. But time is the most unforgiving of fires, and she couldn't, in the end, save it all.

It is best to keep one’s own state intact; to crush the enemy’s state is only second best.

Photography is a magical kind of art that allows people to preserve time and moments, and to describe the world the way they see it.

In Life’s name and for Life’s sake, I say that I will use the Art for nothing but the service of that Life. I will guard growth and ease pain. I will fight to preserve what grows and lives well in its own way; and I will change no object or creature unless its growth and life, or that of the system of which it is part, are threatened. To these ends, in the practice of my Art, I will put aside fear for courage, and death for life, when it is right to do so—till Universe’s end. I will look always toward the Heart of Time, where all times are one, where all our sundered worlds lie whole, as they were meant to be.

We have a knowledge of harmony, anchored deep within. It is this knowledge that enables us, at every instant, to apprehend quality in our lives and, on the rare occasions when everything is in perfect harmony, to appreciate it with the apposite intensity. And I am not referring to the sort of beauty that is the exclusive preserve of Art. Those who feel inspired, as I do, by the greatness of small things will pursue them to the very heart of the inessential where, cloaked in everyday attire, this greatness will emerge from within a certain ordering of ordinary things and from the certainty that all is as it should be, the conviction that it is fine this way.

It's like the old question, "Do you lock your house to keep people out, or to protect what's inside?" Should a person act modestly and dress modestly in order to prevent intrusion from the outside, undesirable things from happening, or to preserve and maintain what is inside: the delicate and sensitive ability to have and maintain an intimate relationship.

Despite all my public misconduct, in the past year, I had learned the Elemental spells, the Doppelschläferin, and the preparation and flying of a magic broom; I had survived two months as prisoner of war, saving the life of captain Johanne in the process; I had escaped the dungeons of Fortress Drachensbett, and after an arduous journey successfully reunited with my double, so preserving her, and all Montagne, from Prince Flonian's rapacity, I would somehow master the despicable art of being a princess.

A NATION'S GREATNESS DEPENDS ON ITS LEADER To vastly improve your country and truly make it great again, start by choosing a better leader. Do not let the media or the establishment make you pick from the people they choose, but instead choose from those they do not pick. Pick a leader from among the people who is heart-driven, one who identifies with the common man on the street and understands what the country needs on every level. Do not pick a leader who is only money-driven and does not understand or identify with the common man, but only what corporations need on every level. Pick a peacemaker. One who unites, not divides. A cultured leader who supports the arts and true freedom of speech, not censorship. Pick a leader who will not only bail out banks and airlines, but also families from losing their homes -- or jobs due to their companies moving to other countries. Pick a leader who will fund schools, not limit spending on education and allow libraries to close. Pick a leader who chooses diplomacy over war. An honest broker in foreign relations. A leader with integrity, one who says what they mean, keeps their word and does not lie to their people. Pick a leader who is strong and confident, yet humble. Intelligent, but not sly. A leader who encourages diversity, not racism. One who understands the needs of the farmer, the teacher, the doctor, and the environmentalist -- not only the banker, the oil tycoon, the weapons developer, or the insurance and pharmaceutical lobbyist. Pick a leader who will keep jobs in your country by offering companies incentives to hire only within their borders, not one who allows corporations to outsource jobs for cheaper labor when there is a national employment crisis. Choose a leader who will invest in building bridges, not walls. Books, not weapons. Morality, not corruption. Intellectualism and wisdom, not ignorance. Stability, not fear and terror. Peace, not chaos. Love, not hate. Convergence, not segregation. Tolerance, not discrimination. Fairness, not hypocrisy. Substance, not superficiality. Character, not immaturity. Transparency, not secrecy. Justice, not lawlessness. Environmental improvement and preservation, not destruction. Truth, not lies. Most importantly, a great leader must serve the best interests of the people first, not those of multinational corporations. Human life should never be sacrificed for monetary profit. There are no exceptions. In addition, a leader should always be open to criticism, not silencing dissent. Any leader who does not tolerate criticism from the public is afraid of their dirty hands to be revealed under heavy light. And such a leader is dangerous, because they only feel secure in the darkness. Only a leader who is free from corruption welcomes scrutiny; for scrutiny allows a good leader to be an even greater leader. And lastly, pick a leader who will make their citizens proud. One who will stir the hearts of the people, so that the sons and daughters of a given nation strive to emulate their leader's greatness. Only then will a nation be truly great, when a leader inspires and produces citizens worthy of becoming future leaders, honorable decision makers and peacemakers. And in these times, a great leader must be extremely brave. Their leadership must be steered only by their conscience, not a bribe.

The second he slipped inside of me, all I'd doubted, questioned, or feared evaporated, leaving me with one single, definite truth--I'd fallen in love with him in an all-consuming blaze that would blind me if I wasn't careful. We fit together like poorly cut puzzle pieces, but when the edges joined and were positioned just right, our scattered images came together to create a solid, deliberate piece of art, completely crystal clear and in focus. I was a goner.

As the poets and painters of centuries have tried to tell us, art is not about the expression of talent or the making of pretty things. It is about the preservation and containment of soul. It is about arresting life and making it available for contemplation. Art captures the eternal in the everyday, and it is the eternal that feeds soul—the whole world in a grain of sand. Leonardo

Law was always made by the few and in general for the purpose of preserving the "existing order," or for the reestablishment of the old order and the punishment of the offenders against it.

Distrust yourself, and sleep before you fight, ‘Tis not too late to-morrow to be brave. —John Armstrong, Art of Preserving Health. Bk. iv, 1. 456.   The fight is over when the enemy is down. —Ovid, Tristia. Bk. iii, eleg. 5, 1. 34.

The arts can sharpen the vision, quicken the intellect, preserve the memory, activate the conscience, enhance the understanding and refresh the language.

Sic vis pacem para bellum - if you want peace, prepare for war.

Like an art lover running out of a burning museum, she would grab whatever she could - a look, a whisper, a moan- to salvage from perishing, to preserve. But time is the most unforgiving of fires, and she couldn't, in the end, save it all.

Was there to be any end to the gradual improvement in the techniques and artifices used by the replicators to ensure their own continuation in the world? There would be plenty of time for improvement. What weird engines of self-preservation would the millennia bring forth? Four thousand million years on, what was to be the fate of the ancient replicators? They did not die out, for they are past masters of the survival arts. But do not look for them floating loose in the sea; they gave up that cavalier freedom long ago. Now they swarm in huge colonies, safe inside gigantic lumbering robots, sealed off from the outside world, communicating with it by tortuous indirect routes, manipulating it by remote control. They are in you and in me; they created us, body and mind; and their preservation is the ultimate rationale for our existence. They have come a long way, those replicators. Now they go by the name of genes, and we are their survival machines.

His smiles had been pickled things, as though they’d been preserved in vinegar on some earlier occasion, to be pulled out to act as garnish to his artfully plated expressions.

Perhaps there is a philosophical as well as a clinical lesson here: that in Korsakov’s, or dementia, or other such catastrophes, however great the organic damage and Humean dissolution, there remains the undiminished possibility of reintegration by art, by communion, by touching the human spirit: and this can be preserved in what seems at first a hopeless state of neurological devastation.

Life Is a Gift from God. We hold from God the gift which includes all others. This gift is life -- physical, intellectual, and moral life. But life cannot maintain itself alone. The Creator of life has entrusted us with the responsibility of preserving, developing, and perfecting it. In order that we may accomplish this, He has provided us with a collection of marvelous faculties. And He has put us in the midst of a variety of natural resources. By the application of our faculties to these natural resources we convert them into products, and use them. This process is necessary in order that life may run its appointed course. Life, faculties, production--in other words, individuality, liberty, property -- this is man. And in spite of the cunning of artful political leaders, these three gifts from God precede all human legislation, and are superior to it. Life, liberty, and property do not exist because men have made laws. On the contrary, it was the fact that life, liberty, and property existed beforehand that caused men to make laws in the first place.

Why should I keep myself so safe?” he asked her, but he was almost asking himself. What is there in my life worth preserving? With a good wife back there in the mountains, serviceable as an old spoon, dry in the heart from having been scared of marriage since she was six? With three children so shy of their father, the Prince of the Arjikis, that they will hardly come near him? With a careworn clan moving here, moving there, going through th same disputes, herding the same herds, as thy have done for five hundred years? And me, with a shallow and undirected mind, no artfulness in word or habit, no especial kindness toward the world? What is there that makes my life worth preserving? “I love you,” said Elphaba. “So that’s that then, and that’s it,” he answered her and himself. “And I love you. So I promise to be careful.

The masses have a right to change property relations; Fascism seeks to give them an expression while preserving property. The logical result of Fascism is the introduction of aesthetics into political life. The violation of the masses, whom Fascism, with its Führer cult, forces to their knees, has its counterpart in the violation of an apparatus which is pressed into the production of ritual values.

But realize this: we are living through writing’s Cambrian explosion, not its mass extinction. Language is more varied than ever before, even if some of it is directly copied from the clipboard—variety is the preservation of an art, not a threat to it.

Poetry is the art of overhearing ourselves say things from which it is impossible to retreat.

It was the general opinion of ancient nations, that the divinity alone was adequate to the important office of giving laws to men... and modern nations, in the consecrations of kings, and in several superstitious chimeras of divine rights in princes and nobles, are nearly unanimous in preserving remnants of it... Is the jealousy of power, and the envy of superiority, so strong in all men, that no considerations of public or private utility are sufficient to engage their submission to rules for their own happiness? Or is the disposition to imposture so prevalent in men of experience, that their private views of ambition and avarice can be accomplished only by artifice? — … There is nothing in which mankind have been more unanimous; yet nothing can be inferred from it more than this, that the multitude have always been credulous, and the few artful. The United States of America have exhibited, perhaps, the first example of governments erected on the simple principles of nature: and if men are now sufficiently enlightened to disabuse themselves of artifice, imposture, hypocrisy, and superstition, they will consider this event as an era in their history. Although the detail of the formation of the American governments is at present little known or regarded either in Europe or America, it may hereafter become an object of curiosity. It will never be pretended that any persons employed in that service had any interviews with the gods, or were in any degree under the inspiration of heaven, any more than those at work upon ships or houses, or labouring in merchandize or agriculture: it will for ever be acknowledged that these governments were contrived merely by the use of reason and the senses. As Copley painted Chatham, West, Wolf, and Trumbull, Warren and Montgomery; as Dwight, Barlow, Trumbull, and Humphries composed their verse, and Belknap and Ramzay history; as Godfrey invented his quadrant, and Rittenhouse his planetarium; as Boylston practised inoculation, and Franklin electricity; as Paine exposed the mistakes of Raynal, and Jefferson those of Buffon, so unphilosophically borrowed from the Recherches Philosophiques sur les Américains those despicable dreams of de Pauw — neither the people, nor their conventions, committees, or sub-committees, considered legislation in any other light than ordinary arts and sciences, only as of more importance. Called without expectation, and compelled without previous inclination, though undoubtedly at the best period of time both for England and America, to erect suddenly new systems of laws for their future government, they adopted the method of a wise architect, in erecting a new palace for the residence of his sovereign. They determined to consult Vitruvius, Palladio, and all other writers of reputation in the art; to examine the most celebrated buildings, whether they remain entire or in ruins; compare these with the principles of writers; and enquire how far both the theories and models were founded in nature, or created by fancy: and, when this should be done, as far as their circumstances would allow, to adopt the advantages, and reject the inconveniences, of all. Unembarrassed by attachments to noble families, hereditary lines and successions, or any considerations of royal blood, even the pious mystery of holy oil had no more influence than that other of holy water: the people universally were too enlightened to be imposed on by artifice; and their leaders, or more properly followers, were men of too much honour to attempt it. Thirteen governments thus founded on the natural authority of the people alone, without a pretence of miracle or mystery, which are destined to spread over the northern part of that whole quarter of the globe, are a great point gained in favour of the rights of mankind. [Preface to 'A Defence of the Constitutions of the United States of America', 1787]

Preserved in discrete human inheritances—arts, literature, music, architecture, history, law, religion—culture expands the human experience of time, making both the past and the future present to creatures who otherwise experience only the present moment.

I think that at the bottom of all art lies the impulse to preserve.

Random thoughts that fly away. Where words has no place to stay. Let it be right where they are. Let the work of art preserve its life.

If, in time of peace, our museums and art galleries are important to the community, in time of war they are doubly valuable. For then, when the petty and the trivial fall way and we are face to face with final and lasting values, we… must summon to our defense all our intellectual and spiritual resources. We must guard jealously all we have inherited from a long past, all we are capable of creating in a trying present, and all we are determined to preserve in a foreseeable future. Art is the imperishable and dynamic expression of these aims. It is, and always has been, the visible evidence of the activity of free minds.…

There is something about that burning of all those letters that gives me pause: why should everything be made clear and be brought into the light? Why keep things, archive your intimacies? Why not let thirty years of shared conversation go spiralling in ash up into the air of Tunbridge Wells? Just because you have it does not mean you have to pass it on. Losing things can something gain you a space in which to live.

Most cowgirls are natural storytellers, their art honed by years of practice. . . . It serves as entertainment; it also preserves the humor and value of a unique way of life.

Then Prometheus, in his perplexity as to what preservation he could devise, stole from Hephaestus and Athena wisdom in the arts together with fire -- since by no means without fire could it be acquired or helpfully used by any -- and he handed it there and then as a gift to man.

Inasmuch as art preserves, with the promise of happiness, the memory of the goal that failed, it can enter, as a 'regulative idea,' the desperate struggle for changing the world. Against all fetishism of the productive forces, against the continued enslavement of individuals by the objective conditions (which remain those of domination), art represents the ultimate goal of all revolutions: the freedom and happiness of the individual.

Arguments for preservation based on the beauty of wilderness are sometimes treated as if they were of little weight because they are "merely aesthetic". That is a mistake. We go to great lengths to preserve the artistic treasures of earlier human civilisations. It is difficult to imagine any economic gain that we would be prepared to accept as adequate compensation for, for instance, the destruction of the paintings in the Louvre. How should we compare the aesthetic value of wilderness with that of the paintings in the Louvre? Here, perhaps, judgment does become inescapably subjective; so I shall report my own experiences. I have looked at the paintings in the Louvre, and in many of the other great galleries of Europe and the United States. I think I have a reasonable sense of appreciation of the fine arts; yet I have not had, in any museum, experiences that have filled my aesthetic senses in the way that they are filled when I walk in a natural setting and pause to survey the view from a rocky peak overlooking a forested valley, or by a stream tumbling over moss-covered boulders set amongst tall tree-ferns, growing in the shade of the forest canopy, I do not think I am alone in this; for many people, wilderness is the source of the greatest feelings of aesthetic appreciation, rising to an almost mystical intensity.

Some one has defined a work of art as a “thing beautifully done.” I like it better if we cut away the adverb and preserve the word “done,” and let it stand alone in its fullest meaning. Things are not done beautifully. The beauty is an integral part of their being done.

For me, art is the desire to preserve the intangible feeling of such a moment, hidden in all the littlest details, and then to communicate that to others.

Maybe that's why Claire had perfected the art of invisibility. It was a form of self-preservation. You couldn't resent what you could not see. She was so quiet, but she noticed everything. Her eyes tracked the world like it was a book written in a language that she could not understand. There was nothing timorous about her, but you got the feeling that she always had one foot out the door. If the situation got too hard, or too intense, she would simply disappear.

Our species is the only creative species, and it has only one creative instrument, the individual mind and spirit of a man. Nothing was ever created by two men. There are no good collaborations, whether in music, in art, in poetry, in mathematics, in philosophy. Once the miracle of creation has taken place, the group can build and extend it, but the group never invents anything. The preciousness lies in the lonely mind of a man. And now the forces marshaled around the concept of the group have declared a war of extermination on that preciousness, the mind of man. By disparagement, by starvation, by repressions, forced direction, and the stunning hammerblows of conditioning, the free, roving mind is being pursued, roped, blunted, drugged. It is a sad suicidal course our species seems to have taken. And this I believe: that the free, exploring mind of the individual human is the most valuable thing in the world. And this I would fight for: the freedom of the mind to take any direction it wishes, undirected. And this I must fight against: any idea, religion, or government which limits or destroys the individual. This is what I am and what I am about. I can understand why a system built on a pattern must try to destroy the free mind, for this is one thing which can by inspection destroy such a system. Surely I can understand this, and I hate it and I will fight against it to preserve the one thing that separates us from the uncreative beasts. If the glory can be killed, we are lost.

Gumption is the psychic gasoline that keeps the whole thing going. If you haven’t got it there’s no way the motorcycle can possibly be fixed. But if you have got it and know how to keep it there’s absolutely no way in this whole world that motorcycle can keep from getting fixed. It’s bound to happen. Therefore the thing that must be monitored at all times and preserved before anything else is the gumption.

And so we know the satisfaction of hate. We know the sweet joy of revenge. How it feels good to get even. Oh, that was a nice idea Jesus had. That was a pretty notion, but you can't love people who do evil. It's neither sensible or practical. It's not wise to the world to love people who do such terrible wrong. There is no way on earth we can love our enemies. They'll only do wickedness and hatefulness again. And worse, they'll think they can get away with this wickedness and evil, because they'll think we're weak and afraid. What would the world come to? But I want to say to you here on this hot July morning in Holt, what if Jesus wasn't kidding? What if he wasn't talking about some never-never land? What if he really did mean what he said two thousand years ago? What if he was thoroughly wise to the world and knew firsthand cruelty and wickedness and evil and hate? Knew it all so well from personal firsthand experience? And what if in spite of all that he knew, he still said love your enemies? Turn your cheek. Pray for those who misuse you. What if he meant every word of what he said? What then would the world come to? And what if we tried it? What if we said to our enemies: We are the most powerful nation on earth. We can destroy you. We can kill your children. We can make ruins of your cities and villages and when we're finished you won't even know how to look for the places where they used to be. We have the power to take away your water and to scorch your earth, to rob you of the very fundamentals of life. We can change the actual day into actual night. We can do these things to you. And more. But what if we say, Listen: Instead of any of these, we are going to give willingly and generously to you. We are going to spend the great American national treasure and the will and the human lives that we would have spent on destruction, and instead we are going to turn them all toward creation. We'll mend your roads and highways, expand your schools, modernize your wells and water supplies, save your ancient artifacts and art and culture, preserve your temples and mosques. In fact, we are going to love you. And again we say, no matter what has gone before, no matter what you've done: We are going to love you. We have set our hearts to it. We will treat you like brothers and sisters. We are going to turn our collective national cheek and present it to be stricken a second time, if need be, and offer it to you. Listen, we-- But then he was abruptly halted.

He was prepared to die for it, as one of Baudelaire's dandies might have been prepared to kill himself in order to preserve himself in the condition of a work of art, for he wanted to make this experience a masterpiece of experience which absolutely transcended the everyday. And this would annihilate the effects of the cruel drug, boredom, to which he was addicted although, perhaps, the element of boredom which is implicit in an affair so isolated from the real world was its principle appeal for him.

In some ways, art is the most terrifying of human inventions. It preserves the right to undermine all the categories. The history of art is the history of iconoclasm, the history of some new voice saying that everything you know is wrong.

Underneath my grief that day a resolution was hardening into cement: I would never, ever again create something thinking that I would be able to preserve it.

Self-preservation is an art and I a masterpiece.

The assault on education began more than a century ago by industrialists and capitalists such as Andrew Carnegie. In 1891, Carnegie congratulated the graduates of the Pierce College of Business for being “fully occupied in obtaining a knowledge of shorthand and typewriting” rather than wasting time “upon dead languages.” The industrialist Richard Teller Crane was even more pointed in his 1911 dismissal of what humanists call the “life of the mind.” No one who has “a taste for literature has a right to be happy” because “the only men entitled to happiness… is those who are useful.” The arrival of industrialists on university boards of trustees began as early as the 1870s and the University of Pennsylvania’s Wharton School of Business offered the first academic credential in business administration in 1881. The capitalists, from the start, complained that universities were unprofitable. These early twentieth century capitalists, like heads of investment houses and hedge-fund managers, were, as Donoghue writes “motivated by an ethically based anti-intellectualism that transcended interest in the financial bottom line. Their distrust of the ideal of intellectual inquiry for its own sake, led them to insist that if universities were to be preserved at all, they must operate on a different set of principles from those governing the liberal arts.

Multiculturalism helps immigrants postpone the pain of letting go of the anachronistic and inappropriate. It locks people into corrupt, inefficient, and unjust social systems, even if it does preserve their arts and crafts. It perpetuates poverty, misery, and abuse.

1. That reason is a gift of God and that we should believe in its ability to comprehend the world. 2. That they have been wrong who undermined confidence in reason by enumerating the forces that want to usurp it: class struggle, libido, will to power. 3. That we should be aware that our being is enclosed within the circle of its perceptions, but not reduce reality to dreams and the phantoms of the mind. 4. That truth is a proof of freedom and that the sign of slavery is the lie. 5. That the proper attitude toward being is respect and that we must, therefore, avoid the company of people who debase being with their sarcasm, and praise nothingness. 6. That, even if we are accused of arrogance, it is the case that in the life of the mind a strict hierarchy is necessary. 7. That intellectuals in the twentieth century were afflicted with the habit of baratin, i.e., irresponsible jabber. 8. That in the hierarchy of human activities the arts stand higher than philosophy, and yet bad philosophy can spoil art. 9. That the objective truth exists; namely, out of two contrary assertions, one is true, one false, except in strictly defined cases when maintaining contradiction is legitimate. 10. That quite independently of the fate of religious denominations we should preserve a "philosophical faith," i.e., a belief in transcendence as a measure of humanity. 11. That time excludes and sentences to oblivion only those works of our hands and minds which prove worthless in raising up, century after century, the huge edifice of civilization. 12. That in our lives we should not succumb to despair because of our errors and our sins, for the past is never closed down and receives the meaning we give it by our subsequent acts.

Until modern times, we focused a great deal of the best of our thought upon rituals of return to the human condition. Seeking enlightenment or the Promised Land or the way home, a man would go or be forced to go into the wilderness, measure himself against the Creation, recognize finally his true place within it, and thus be saved both from pride and from despair. Seeing himself as a tiny member of a world he cannot comprehend or master or in any final sense possess, he cannot possibly think of himself as a god. And by the same token, since he shares in, depends upon, and is graced by all of which he is a part, neither can he become a fiend; he cannot descend into the final despair of destructiveness. Returning from the wilderness, he becomes a restorer of order, a preserver. He sees the truth, recognizes his true heir, honors his forebears and his heritage, and gives his blessing to his successors. He embodies the passing of human time, living and dying within the human limits of grief and joy. (pg.95, "The Body and the Earth")

My love is as a fever, longing still For that which longer nurseth the disease; Feeding on that which doth preserve the ill, The uncertain sickly appetite to please. My reason, the physician to my love, Angry that his prescriptions are not kept, Hath left me, and I desperate now approve, Desire his death, which physic did except. Past cure I am, now reason is past care, And frantic-mad with evermore unrest; My thoughts and my discourse as madmen's are, At random from the truth vainly express'd; For I have sworn thee fair, and thought thee bright, Who art as black as hell, as dark as night.

Wherefore, unless things be put on a sound footing by some one ruler who lives to a very advanced age, or by two virtuous rulers succeeding one another, the city upon their death at once falls back into ruin; or, if it be preserved, must be so by incurring great risks, and at the cost of much blood. For

If memory is our means of preserving that which we consider most valuable, it is also painfully linked to our own transience. When we die, our memories die with us. In a sense, the elaborate system of externalized memory we've created is a way of fending off mortality. It allows ideas to be efficiently passed across time and space, and for one idea to build on another to a degree not possible when a thought has to be passed from brain to brain in order to be sustained. The externalization of memory not only changed how people think; it also led to a profound shift in the very notion of what it means to be intelligent. Internal memory became devalued. Erudition evolved from possessing information internally to knowing how and where to find it in the labyrinthine world of external memory...But as our culture has transformed from one that was fundamentally based on internal memories to one that is fundamentally based on memories stored outside the brain, what are the implications for ourselves and our society. What we've gained is indisputiable. But what have we traded away?

Consider how flight attendants explain airline safety to passengers. In the event the cabin decompresses, you’re supposed to put on your oxygen mask before helping others put on their masks. Help yourself first. Then, assist others. These instructions aren’t intended to promote self-preservation. Rather, the airline knows that if you help others first, you risk succumbing to hypoxia. And that would prevent you from helping anyone.

There are six canons of conservative thought: 1) Belief in a transcendent order, or body of natural law, which rules society as well as conscience. Political problems, at bottom, are religious and moral problems. A narrow rationality, what Coleridge called the Understanding, cannot of itself satisfy human needs. "Every Tory is a realist," says Keith Feiling: "he knows that there are great forces in heaven and earth that man's philosophy cannot plumb or fathom." True politics is the art of apprehending and applying the Justice which ought to prevail in a community of souls. 2) Affection for the proliferating variety and mystery of human existence, as opposed to the narrowing uniformity, egalitarianism, and utilitarian aims of most radical systems; conservatives resist what Robert Graves calls "Logicalism" in society. This prejudice has been called "the conservatism of enjoyment"--a sense that life is worth living, according to Walter Bagehot "the proper source of an animated Conservatism." 3) Conviction that civilized society requires orders and classes, as against the notion of a "classless society." With reason, conservatives have been called "the party of order." If natural distinctions are effaced among men, oligarchs fill the vacuum. Ultimate equality in the judgment of God, and equality before courts of law, are recognized by conservatives; but equality of condition, they think, means equality in servitude and boredom. 4) Persuasion that freedom and property are closely linked: separate property from private possession, and Leviathan becomes master of all. Economic levelling, they maintain, is not economic progress. 5) Faith in prescription and distrust of "sophisters, calculators, and economists" who would reconstruct society upon abstract designs. Custom, convention, and old prescription are checks both upon man's anarchic impulse and upon the innovator's lust for power. 6) Recognition that change may not be salutary reform: hasty innovation may be a devouring conflagration, rather than a torch of progress. Society must alter, for prudent change is the means of social preservation; but a statesman must take Providence into his calculations, and a statesman's chief virtue, according to Plato and Burke, is prudence.

The only road to freedom is self-education in art. Art is not a luxury for any advanced civilization; it is a necessity, without which creative intelligence will wither and die. Even in economically troubled times, support for the arts should be a national imperative. Dance, for example, requires funding not only to secure safe, roomy rehearsal space but to preserve the indispensible continuity of the teacher-student link. American culture has become unbalanced by its obsession with the blood sport of politics, a voracious vortex consuming everything in its path. History shows that, for both individuals and nations, political power is transient. America's true legacy is its ideal of liberty, which has inspired insurgencies around the world. Politicians and partisans of both the Right and the Left must recognize that art too is a voice of liberty, requiring nurture without intrusion. Art unites the spiritual and material realms. In an age of alluring, magical machines, the society that forgets art risks losing its soul.

Wisdom and knowledge, as well as virtue, diffused generally among the body of the people being necessary for the preservation of their rights and liberties; and as these depend on spreading the opportunities and advantages of education in various parts of the country, and among the different orders of the people, it shall be the duty of legislators and magistrates in all future periods of this commonwealth to cherish the interests of literature and the sciences, and all seminaries of them, especially the university at Cambridge, public schools, and grammar schools in the towns; to encourage private societies and public institutions, rewards and immunities, for the promotion of agriculture, arts, sciences, commerce, trades, manufactures, and a natural history of the country; to countenance and inculcate the principles of humanity and general benevolence, public and private charity, industry and frugality, honesty and punctuality in their dealings, sincerity, good humor, and all social affections, and generous sentiments among the people.

Societies may die a violent death, like the Inca and Aztec societies which the Spaniards destroyed with gunpowder in the sixteenth century; and it is sometimes thought by people who have been reading historical thrillers that the Roman Empire died in the same way, at the hands of barbarian invaders. That theory is amusing but untrue. It died of disease, not of violence, and the disease was a long-growing and deep-seated conviction that its own way of life was not worth preserving.

Try not to breathe,” I tell Lira. “It might get stuck halfway out.” Lira flicks up her hood. “You should try not to talk then,” she retorts. “Nobody wants your words being preserved for eternity.” “They’re pearls of wisdom, actually.” I can barely see Lira’s eyes under the mass of dark fur from her coat, but the mirthless curl of her smile is ever-present. It lingers in calculated amusement as she considers what to say next. Readies to ricochet the next blow. Lira pulls a line of ice from her hair, artfully indifferent. “If that is what pearls are worth these days, I’ll make sure to invest in diamonds.” “Or gold,” I tell her smugly. “I hear it’s worth its weight.” Kye shakes the snow from his sword and scoffs. “Anytime you two want to stop making me feel nauseated, go right ahead.” “Are you jealous because I’m not flirting with you?” Madrid asks him, warming her finger on the trigger mechanism of her gun. “I don’t need you to flirt with me,” he says. “I already know you find me irresistible.” Madrid reholsters her gun. “It’s actually quite easy to resist you when you’re dressed like that.” Kye looks down at the sleek red coat fitted snugly to his lithe frame. The fur collar cuddles against his jaw and obscures the bottoms of his ears, making it seem as though he has no neck at all. He throws Madrid a smile. “Is it because you think I look sexier wearing nothing?” Torik lets out a withering sigh and pinches the bridge of his nose. I’m not sure whether it’s from the hours we’ve gone without food or his inability to wear cutoffs in the biting cold, but his patience seems to be wearing thin. “I could swear that I’m on a life-and-death mission with a bunch of lusty kids,” he says. “Next thing I know, the lot of you will be writing love notes in rum bottles.” “Okay,” Madrid says. “Now I feel nauseated.” I laugh.

To my mind, a civilization is much more than just the contents of a few first-rate art galleries. It is a highly complex human organization. Its paintings, statues and buildings may well be its most eye-catching achievements, but they are unintelligible without some understanding of the economic, social and political institutions which devised them, paid for them, executed them – and preserved them for our gaze.

Any society contains propaganda, but it is important to distinguish this from art and to preserve the purity and independence of the practice of art. A good society contains many different artists doing many different things. A bad society coerces artists because it knows that they can reveal all kinds of truths.

10 ways to raise a wild child. Not everyone wants to raise wild, free thinking children. But for those of you who do, here's my tips: 1. Create safe space for them to be outside for a least an hour a day. Preferable barefoot & muddy. 2. Provide them with toys made of natural materials. Silks, wood, wool, etc...Toys that encourage them to use their imagination. If you're looking for ideas, Google: 'Waldorf Toys'. Avoid noisy plastic toys. Yea, maybe they'll learn their alphabet from the talking toys, but at the expense of their own unique thoughts. Plastic toys that talk and iPads in cribs should be illegal. Seriously! 3. Limit screen time. If you think you can manage video game time and your kids will be the rare ones that don't get addicted, then go for it. I'm not that good so we just avoid them completely. There's no cable in our house and no video games. The result is that my kids like being outside cause it's boring inside...hah! Best plan ever! No kid is going to remember that great day of video games or TV. Send them outside! 4. Feed them foods that support life. Fluoride free water, GMO free organic foods, snacks free of harsh preservatives and refined sugars. Good oils that support healthy brain development. Eat to live! 5. Don't helicopter parent. Stay connected and tuned into their needs and safety, but don't hover. Kids like adults need space to roam and explore without the constant voice of an adult telling them what to do. Give them freedom! 6. Read to them. Kids don't do what they are told, they do what they see. If you're on your phone all the time, they will likely be doing the same thing some day. If you're reading, writing and creating your art (painting, cooking...whatever your art is) they will likely want to join you. It's like Emilie Buchwald said, "Children become readers in the laps of their parents (or guardians)." - it's so true! 7. Let them speak their truth. Don't assume that because they are young that you know more than them. They were born into a different time than you. Give them room to respectfully speak their mind and not feel like you're going to attack them. You'll be surprised what you might learn. 8. Freedom to learn. I realize that not everyone can homeschool, but damn, if you can, do it! Our current schools system is far from the best ever. Our kids deserve better. We simply can't expect our children to all learn the same things in the same way. Not every kid is the same. The current system does not support the unique gifts of our children. How can they with so many kids in one classroom. It's no fault of the teachers, they are doing the best they can. Too many kids and not enough parent involvement. If you send your kids to school and expect they are getting all they need, you are sadly mistaken. Don't let the public school system raise your kids, it's not their job, it's yours! 9. Skip the fear based parenting tactics. It may work short term. But the long term results will be devastating to the child's ability to be open and truthful with you. Children need guidance, but scaring them into listening is just lazy. Find new ways to get through to your kids. Be creative! 10. There's no perfect way to be a parent, but there's a million ways to be a good one. Just because every other parent is doing it, doesn't mean it's right for you and your child. Don't let other people's opinions and judgments influence how you're going to treat your kid. Be brave enough to question everything until you find what works for you. Don't be lazy! Fight your urge to be passive about the things that matter. Don't give up on your kid. This is the most important work you'll ever do. Give it everything you have.

A sovereign cannot raise an army because he is enraged, nor can a general fight because he is resentful. For while an angered many may again be happy, and a resentful man again be pleased, a state that has perished cannot be restored, nor can the dead be brought back to life. Therefore, the enlightened ruler is prudent and the good general is warned against rash action. Thus the state is kept secure and the army preserved.

18. A sovereign cannot raise an army because he is enraged, nor can a general fight because he is resentful. For while an angered man may again be happy, and resentful man again be pleased, a state that has perished cannot be restored, nor can the dead be brought back to life. 19. Therefore, the enlightened ruler is prudent and the good general is warned against rash action. Thus, the state is kept secure and the army preserved.

Language is not primarily informational but revelatory. The Holy Scriptures give witness to a living voice sounding variously as Father, Son and Spirit, addressing us personally and involving us personally as participants. This text is not words to be studies in the quiet preserves of a library, but a voice to be believed and loved and adored in workplace and playground, on the streets and in the kitchen. Receptivity is required.

It didn't take me long out there, in the landscapes my father had painted, to realize that as much as I loved my country [Australia], I barely knew it. I'd spent so many years studying the art of our immigrant cultures, and barely any time at all on the one that had been here all along....So I set myself a crash course and became a pioneer in a new field: desperation conservation. My job became the documentation and preservation of ancient Aboriginal rock art, before the uranium and bauxite companies had a chance to blast it into rubble,

The rich flow of creativity, innovation, and almost musical complexity we are looking for in a fulfilled work life cannot be reached through trying or working harder. The medium for the soul, it seems, must be the message. The river down which we raft is made up of the same substance as the great sea of our destination. It is an ever-moving, firsthand creative engagement with life and with others that completes itself simply by being itself. This kind of approach must be seen as the "great art" of working in order to live, of remembering what is most important in the order of priorities and what place we occupy in a much greater story than the one our job description defines. Other "great arts," such as poetry, can remind and embolden us to this end. Whatever we choose to do, the stakes are very high. With a little more care, a little more courage, and, above all, a little more soul, our lives can be so easily discovered and celebrated in work, and not, as now, squandered and lost in its shadow.

Your leader is only one man,” I heard my voice say. “His strength is no more supernatural than your own, nor is his virtue, and by himself he could never preserve the good things that belong by right to everyone. To govern well, he must have your help—the help of his true, trustworthy friends. You must forever be worthy of his trust, and you must raise up true friends of your own, to help you carry your own burdens. And it is love that must bind all of us together.

In Asia, we say that there are three sources of energy--sexual, breath, and spirit...You need to know how to reestablish the balance, or you may act irresponsibly. According to Taoism and buddhism, there are practices to help reestablish that balance, such as meditation or martial arts. You can learn the ways to channel your sexual energy into deep realizations in the domains of art and meditation. The second source of energy is khi, breath energy. Life can be described as a process of burning. In order to burn, every cell in our body needs nutrition and oxygen...Some people cultivate their khi by refraining from smoking and talking, or by practicing conscious breathing after talking a lot...The third soruce of energy is than, spirit energy. When you don't sleep at night, you lose some of this kind of energy. Your nervous system becomes exhausted and you cannot sutdy or practice meditation well, or make good decisions. You don't have a clear mind because of lack of sleep or from worrying too much. Worry and anxiety drain this source of energy. So don't worry. Don't stay up too late. Keep your nervous system healthy. Prevent anxiety. These kinds of practices cultivate the third source of energy. You need this source of energy to practice meditation well. A spritual breakthrough requires the power of your spirit energy, which comes about through concentration and knowing how to preserve this source of energy. When you have strong spirit energy, you only have to focus it on an object, and you will have a breakthrough. If you don't have than, the light of your concentration will not shine brightly, because the light emitted is very weak," (35-36).

I said, 'there was a society of men among us, bred up from their youth in the art of proving, by words multiplied for the purpose, that white is black, and black is white, according as they are paid. To this society all the rest of the people are slaves. For example, if my neighbour has a mind to my cow, he has a lawyer to prove that he ought to have my cow from me. I must then hire another to defend my right, it being against all rules of law that any man should be allowed to speak for himself. Now, in this case, I, who am the right owner, lie under two great disadvantages: first, my lawyer, being practised almost from his cradle in defending falsehood, is quite out of his element when he would be an advocate for justice, which is an unnatural office he always attempts with great awkwardness, if not with ill-will. The second disadvantage is, that my lawyer must proceed with great caution, or else he will be reprimanded by the judges, and abhorred by his brethren, as one that would lessen the practice of the law. And therefore I have but two methods to preserve my cow. The first is, to gain over my adversary’s lawyer with a double fee, who will then betray his client by insinuating that he hath justice on his side. The second way is for my lawyer to make my cause appear as unjust as he can, by allowing the cow to belong to my adversary: and this, if it be skilfully done, will certainly bespeak the favour of the bench.

You have no idea how engrossing such a profession may become. Just as the blacksmith says: 'By hammer and hand all Art doth stand,' just as the baker thinks that all the solar system revolves around his morning delivery of rolls, as the postmaster-general believes that he alone is the preserver of society - and surely, surely, these delusions are necessary to keep us going.

Jackie’s work during this period on behalf of the landmarks preservation movement. At various times, she spoke with poignance of Manhattan monuments disappearing, of patches of sky being snatched away, of a cityscape that was dying “by degrees.” Pressed to explain why she had become involved in the fight to save the ornate Beaux Arts–style Grand Central Station, whose bankrupt owners hoped to raise money by allowing a fifty-five-story commercial tower to be built above it, Jackie said: “It’s a beautiful building that I’m used to seeing.

To discover that there was any semblance of art in a concentration camp must be surprise enough for an outsider, but he may be even more astonished to hear that one could find a sense of humor there as well; of course, only the faint trace of one, and then only for a few seconds or minutes. Humor was another of the soul’s weapons in the fight for self-preservation. It is well known that humor, more than anything else in the human make-up, can afford an aloofness and an ability to rise above any situation, even if only for a few seconds.

Part of what impelled him was stubbornness; resentment, even. The system had filed him among the rejects, and what he was studying was considered—at the decision-making levels, the levels of real power—an archaic waste of time. Well then, he would pursue the superfluous as an end in itself. He would be its champion, its defender and preserver. Who was it who’d said that all art was completely useless? Jimmy couldn’t recall, but hooray for him, whoever he was. The more obsolete a book was, the more eagerly Jimmy would add it to his inner collection.

Myself I cannot see the persistence of the artist type. I see no need for the individual man of genius in such an order. I see no need for martyrs. I see no need for vicarious atonement. I see no need for the fierce preservation of beauty on the part of a few. Beauty and Truth do not need defenders, nor even expounders. No one will ever have a lien on Beauty and Truth; they are creations in which all participate. They need only to be apprehended; they exist externally. Certainly, when we think of the conflicts and schisms which occur in the realm of art, we know that they do not proceed out of love of Beauty or Truth. Ego worship is the one and only cause of dissension, in art as in other realms. The artist is never defending art, but simply his own petty conception of art. Art is as deep and high and wide as the universe. There is nothing but art, if you look at it properly. It is almost banal to say so yet it needs to be stressed continually: all is creation, all is change, all is flux, all is metamorphosis.

...nor do I want to suggest that the Amish are perfect people or that their way of life is perfect. What I want to recommend are some Amish principles: 1) They have preserved their families and communities. 2) They have maintained the practices of neighbourhood. 3) They have maintained the domestic arts of kitchen and garden, household and homestead. 4) They have limited their use of technology so as not to displace or alienate available human labour or available free source of power (the sun, wind, water, and so on). 5) They have their farms to a scale that is compatible both with the practice of neighborhood and with the optimum use of low-power technology. 6) By the practices and limits already mentioned, they have limited their costs. 7) They have educated their children to live at home and serve their communities. 8) They esteem farming as both a practical art and a spiritual discipline. These principles define a world to be lived by human beings, not a world to be exploited by managers, stockholders, and experts.

The first duty in this world is for a man to pay his way; when that is quite accomplished, he may plunge into what eccentricity he likes ; but emphatically not till then. Till then, he must pay assiduous court to the bourgeois who carries the purse. And if in the course of these capitulations he shall falsify his talent, it can never have been a strong one, and he will have preserved a better thing than talent - character. Or if he be of a mind so independent that he cannot stoop to this necessity, one course is yet open : he can desist from art, and follow some more manly way of life.

Some misers never spend, saving everything because they think they’ll live forever. On the other end are the wasters, who believe they’ll die tomorrow, so they might as well spend it all today. They’re both wrong. Many people have become rich by living poorly while others have become poor by living richly. But there is no need to go to extremes. You can be extra without breaking the bank, and you can preserve the bank by not being extravagant.

The truth about any artist, however terrible, is better than the silence.... I know many writers fight fanatically to keep their published self separate from their private reality.... But I've always thought of that as something out of our social, time-serving side; not our true artistic ones. I don't see how the "lies" we write and the "lies" we live can or should be divided. They are seamless, one canvas, for me. While we live we can keep them apart, but not command the future to do the same. The outrage some Thomas Hardy fans have shown over all the revelations about the private man seems to me hypocritical in the extreme. They hugely enrich our understanding of him.... I have had to convince a number of friends and relatives that the kindest act to the [writer] is remembering them - and that all art comes from a human being, not out of mysterious thin air. (Letter to Jo Jones, September 15, 1980, arguing for the preservation of John Collier's personal papers)

Television. Maybe it was all a study in the art of mummification. The effect of the medium is so evanescent that those who work in its time apparatus feel the need to preserve themselves, delivering their bodies to be lacquered and trussed, sprayed with the rarest of pressurized jellies, all to one end, a release from the perilous context of time. This is their only vanity, to expect to dwell forever in hermetic sub-corridors, free of every ravage, secure as old kings asleep in sodium.

The formation of society serves not only for defensive purposes, but is also very useful, and, indeed, absolutely necessary, as rendering possible the division of labor. If men did not render mutual assistance to each other, no one would have either the skill or the time to provide for his own sustenance and preservation: for all men are not equally apt for all work, and no one would be capable of preparing all that he individually stood in need of. Strength and time, I repeat, would fail, if every one had in person to plow, to sow, to reap, to grind corn, to cook, to weave, to stitch and perform the other numerous functions required to keep life going; to say nothing of the arts and sciences which are also entirely necessary to the perfection and blessedness of human nature.

I caution against communication because once language exist only to convey information, it is dying. In news articles the relation of the words to the subject is a strong one. The relation of the words to the writer is weak. (Since the majority of your reading has been newspapers, you are used to seeing language function this way). When you write a poem these relations must reverse themselves: The relation of the word to the subject must weaken – the relation of the words to the writer (you) must take on strength. This is probably the hardest thing about writing poems In a poem you make something up, say for example a town, but an imagined town is at least as real as an actual town. If it isn’t you may be in the wrong business. Our triggering subjects, like our words, come from obsessions we must submit to, whatever the social cost. It can be hard. It can be worse 40 years from now if you feel you could have done it and didn’t. RICHARD HUGO Public versus private poets: With public poets the intellectual and emotional contents of the words are the same for the reader as for the writer. With the private poet, the words, at least certain key words, mean something to the poet they don’t mean to the reader. A sensitive reader perceives this relation of poet to word and in a way that relation – the strange way the poet emotionally possesses his vocabulary – is one of the mysteries and preservative forces of the art. If you are a private poet, then your vocabulary is limited by your obsessions. In fact, most poets write the same poem over and over. (Wallace Stevens was honest enough not to try to hide it. Frost’s statement that he tried to make every poem as different as possible from the last one is a way of saying that he knew it couldn’t be).

The satyr, as the Dionysiac chorist, dwells in a reality sanctioned by myth and ritual. That tragedy should begin with him, that the Dionysiac wisdom of tragedy should speak through him, is as puzzling a phenomenon as, more generally, the origin of tragedy from the chorus. Perhaps we can gain a starting point for this inquiry by claiming that the satyr, that fictive nature sprite, stands to cultured man in the same relation as Dionysian music does to civilization. Richard Wagner has said of the latter that it is absorbed by music as lamplight by daylight. In the same manner, I believe, the cultured Greek felt himself absorbed into the satyr chorus, and in the next development of Greek tragedy state and society, in fact everything that separates man from man, gave way before an overwhelming sense of unity that led back into the heart of nature. This metaphysical solace (which, I wish to say at once, all true tragedy sends us away) that, despite every phenomenal change, life is at bottom indestructibly joyful and powerful, was expressed most concretely in the chorus of satyrs, nature beings who dwell behind all civilization and preserve their identity through every change of generations and historical movement. With this chorus the profound Greek, so uniquely susceptible to the subtlest and deepest suffering, who had penetrated the destructive agencies of both nature and history, solaced himself. Though he had been in danger of craving a Buddhistic denial of the will, he was saved through art, and through art life reclaimed him.

But if any man undertake to write a history, that has to be collected from materials gathered by observation and the reading of works not easy to be got in all places, nor written always in his own language, but many of them foreign and dispersed in other hands, for him, undoubtedly, it is in the first place and above all things most necessary, to reside in some city of good note, addicted to liberal arts, and populous; where he may have plenty of all sorts of books, and upon inquiry may hear and inform himself of such particulars as, having escaped the pens of writers, are more faithfully preserved in the memories of men, lest his work be deficient in many things, even those which it can least dispense with.

If, then, there is some end of the things we do, which we desire for its own sake (everything else being desired for the sake of this), and if we do not choose everything for the sake of something else (for at that rate the process would go on to infinity, so that our desire would be empty and vain), clearly this must be the good and the chief good. Will not the knowledge of it, then, have a great influence on life? Shall we not, like archers who have a mark to aim at, be more likely to hit upon what is right? If so, we must try, in outline at least, to determine what it is, and of which of the sciences or capacities it is the object. It would seem to belong to the most authoritative art and that which is most truly the master art. And politics appears to be of this nature; for it is this that ordains which of the sciences should be studied in a state, and which each class of citizens should learn and up to what point they should learn them; and we see even the most highly esteemed of capacities to fall under this, e.g. strategy, economics, rhetoric; now, since politics uses the rest of the sciences, and since, again, it legislates as to what we are to do and what we are to abstain from, the end of this science must include those of the others, so that this end must be the good for man. For even if the end is the same for a single man and for a state, that of the state seems at all events something greater and more complete whether to attain or to preserve; though it is worth while to attain the end merely for one man, it is finer and more godlike to attain it for a nation or for city-states. These, then, are the ends at which our inquiry aims, since it is political science, in one sense of that term.

The theological perspective of participation actually saves the appearances by exceeding them. It recognizes that materialism and spiritualism are false alternatives, since if there is only finite matter there is not even that, and that for phenomena really to be there they must be more than there. Hence, by appealing to an eternal source for bodies, their art, language, sexual and political union, one is not ethereally taking leave of their density. On the contrary, one is insisting that behind this density resides an even greater density – beyond all contrasts of density and lightness (as beyond all contrasts of definition and limitlessness). This is to say that all there is only is because it is more than it is. (...) This perspective should in many ways be seen as undercutting some of the contrasts between theological liberals and conservatives. The former tend to validate what they see as the modern embrace of our finitude – as language, and as erotic and aesthetically delighting bodies, and so forth. Conservatives, however, seem still to embrace a sort of nominal ethereal distancing from these realities and a disdain for them. Radical orthodoxy, by contrast, sees the historic root of the celebration of these things in participatory philosophy and incarnational theology, even if it can acknowledge that premodern tradition never took this celebration far enough. The modern apparent embrace of the finite it regards as, on inspection, illusory, since in order to stop the finite vanishing modernity must construe it as a spatial edifice bound by clear laws, rules and lattices. If, on the other hand, following the postmodern options, it embraces the flux of things, this is an empty flux both concealing and revealing an ultimate void. Hence, modernity has oscillated between puritanism (sexual or otherwise) and an entirely perverse eroticism, which is in love with death and therefore wills the death also of the erotic, and does not preserve the erotic as far as an eternal consummation. In a bizarre way, it seems that modernity does not really want what it thinks it wants; but on the other hand, in order to have what it thinks it wants, it would have to recover the theological. Thereby, of course, it would discover also that that which it desires is quite other than it has supposed

An active life serves the purpose of giving man the opportunity to realize values in creative work, while a passive life of enjoyment affords him the opportunity to obtain fulfillment in experiencing beauty, art, or nature. But there is also purpose in that life which is almost barren of both creation and enjoyment which admits of but one possibility of high moral behavior: namely, in man's attitude to his existence, an existence restricted by external forces. A creative life and a life of enjoyment are banned to him. But not only creativeness and enjoyment are meaningful. If there is a meaning in life at all, then there must be a meaning in suffering. Suffering is an ineradicable part of life, even as fate and death. Without suffering and death human life cannot be complete. The way in which a man accepts his fate and all the suffering it entails, the way in which he takes up his cross, gives him ample opportunity-even under the most difficult circumstances- to add a deeper meaning to his life. It may remain brave, dignified, and unselfish. Or in the bitter fight for self-preservation he may forget his human dignity and become no more than an animal. Here lies the chance for a man either to make use of or to forgo the opportunities of attaining the moral values that a difficult situation may afford him. And this decides whether he is worthy of his sufferings or not. Do not think that these considerations are unworldly and too far removed from real life. It is true that only a few people are capable of reaching such high moral standards. Of the prisoners only a few kept their full inner liberty and obtained those values which their suffering afforded, but even one such example is sufficient proof that man's inner strength may raise him above his outward fate. Such men are not only in concentration camps. Everywhere man is confronted with fate, with the chance of achieving something through his own suffering.

I said, “there was a society of men among us, bred up from their youth in the art of proving, by words multiplied for the purpose, that white is black, and black is white, according as they are paid. To this society all the rest of the people are slaves. For example, if my neighbour has a mind to my cow, he has a lawyer to prove that he ought to have my cow from me. I must then hire another to defend my right, it being against all rules of law that any man should be allowed to speak for himself. Now, in this case, I, who am the right owner, lie under two great disadvantages: first, my lawyer, being practised almost from his cradle in defending falsehood, is quite out of his element when he would be an advocate for justice, which is an unnatural office he always attempts with great awkwardness, if not with ill-will. The second disadvantage is, that my lawyer must proceed with great caution, or else he will be reprimanded by the judges, and abhorred by his brethren, as one that would lessen the practice of the law. And therefore I have but two methods to preserve my cow. The first is, to gain over my adversary’s lawyer with a double fee, who will then betray his client by insinuating that he hath justice on his side. The second way is for my lawyer to make my cause appear as unjust as he can, by allowing the cow to belong to my adversary: and this, if it be skilfully done, will certainly bespeak the favour of the bench.

Let us suppose that such a person began by observing those Christian activities which are, in a sense, directed towards this present world. He would find that this religion had, as a mere matter of historical fact, been the agent which preserved such secular civilization as survived the fall of the Roman Empire; that to it Europe owes the salvation, in those perilous ages, of civilized agriculture, architecture, laws, and literacy itself. He would find that this same religion has always been healing the sick and caring for the poor; that it has, more than any other, blessed marriage; and that arts and philosophy tend to flourish in its neighborhood. In a word, it is always either doing, or at least repenting with shame for not having done, all the things which secular humanitarianism enjoins. If our enquirer stopped at this point he would have no difficulty in classifying Christianity—giving it its place on a map of the ‘great religions.

It was the Church, they told me, that had kept alive the Latin and Greek of the classical world in the benighted Middle Ages, until it could be picked up again by the wider world in the Renaissance. On holidays, we would visit museums and libraries where the same point was made. As a young child, I looked at the glowing gold of the illuminated manuscripts and believed in a more metaphorical illumination in ages of intellectual darkness. And, in a way, my parents were right to believe this, for it is true. Monasteries did preserve a lot of classical knowledge. But it is far from the whole truth. In fact, this appealing narrative has almost entirely obscured an earlier, less glorious story. For before it preserved, the Church destroyed. In a spasm of destruction never seen before—and one that appalled many non-Christians watching it—during the fourth and fifth centuries, the Christian Church demolished, vandalized and melted down a simply staggering quantity of art. Classical statues were knocked from their plinths, defaced, defiled and torn limb from limb. Temples were razed to their foundations and mutilated. A temple widely considered to be the most magnificent in the entire empire was leveled. Many of the Parthenon sculptures were attacked, faces were mutilated, hands and limbs were hacked off, and gods were decapitated. Some of the finest statues on the whole building were almost certainly smashed off then ground into rubble that was then used to build churches. Books—which were often stored in temples—suffered terribly. The remains of the greatest library in the ancient world, a library that had once held perhaps 700,000 volumes, were destroyed in this way by Christians. It was over a millennium before any other library would even come close to its holdings. Works by censured philosophers were forbidden and bonfires blazed across the empire as outlawed books went up in flames.

Scott stared at her mouth, just stared like he was hypnotized, paralyzed, like that crimson O was the answer to all of life’s problems, or maybe just his prayers. I kicked his shin to break the spell, which worked; he blinked, then ate the bite himself as if he’d never even offered it to anyone at all. I looked frankly at Carmel; her expression was innocently amused. There are women whose whole selves are engaged in being a public commodity, and Carmel was one of these. Every gesture she made, every syllable she uttered, the tinkle of her laughter, the way her dress’s fabric draped over her breasts, all of it was self-conscious and deliberate, designed to elicit admiration in women, desire in men. This isn’t to say I held any of that against her. Not a bit. I liked her, in fact. The way I saw it, she was a kind of living work of art, and funny and thoughtful besides. Was it her fault if she, as had happened to me, sometimes provoked the basest feelings in a man? Scott and Fred made short work of that second bottle of brandy while Carmel’s and my glasses still held our initial pour. I’d found that drinking very much of any kind of alcohol still did bad things to my stomach. Carmel might have found that it did bad things to her self-preservation; I know that if I looked like her, I’d never let down my guard.

What about this, then?” The metal surface rippled at his touch, stretching and splitting into a million thin wires that made it look like a giant version of one of those pin art toys Sophie used to play with as a kid. He tapped his fingers in a quick rhythm, and the pins shifted and sank, forming highs and lows and smooth, flat stretches. Sophie couldn’t figure out what she was seeing until he tapped a few additional beats and tiny pricks of light flared at the ends of each wire, bathing the scene in vibrant colors and marking everything with glowing labels. “It’s a map,” she murmured, making a slow circle around the table. And not just any map. A 3-D map of the Lost Cities. She’d never seen her world like that before, with everything spread out across the planet in relation to everything else. Eternalia, the elvin capital that had likely inspired the human myths of Shangri-la, was much closer to the Sanctuary than she’d realized, nestled into one of the valleys of the Himalayas—while the special animal preserve was hidden inside the hollowed-out mountains. Atlantis was deep under the Mediterranean Sea, just like the human legends described, and it looked like Mysterium was somewhere in the Bermuda Triangle. The Gateway to Exile was in the middle of the Sahara desert—though the prison itself was buried in the center of the earth. And Lumenaria… “Wait. Is Lumenaria one of the Channel Islands?” she asked, trying to compare what she was seeing against the maps she’d memorized in her human geography classes. “Yes and no. It’s technically part of the same archipelago. But we’ve kept that particular island hidden, so humans have no idea it exists—well, beyond the convoluted stories we’ve occasionally leaked to cause confusion.

Our species is the only creative species, and it has only one creative instrument, the individual mind and spirit of a man. Nothing was ever created by two men. There are no good collaborations, whether in music, in art, in poetry, in mathematics, in philosophy. Once the miracle of creation has taken place, the group can build and extend it, but the group never invents anything. The preciousness lies in the lonely mind of a man. And now the forces marshaled around the concept of the group have declared a war of extermination on that preciousness, the mind of man. By disparagement, by starvation, by repressions, forced direction, and the stunning hammerblows of conditioning, the free, roving mind is being pursued, roped, blunted, drugged. It is a sad suicidal course our species seems to have taken. And this I believe: that the free, exploring mind of the individual human is the most valuable thing in the world. And this I would fight for: the freedom of the mind to take any direction it wishes, undirected. And this I must fight against: any idea, religion, or government which limits or destroys the individual. This is what I am and what I am about. I can understand why a system built on a pattern must try to destroy the free mind, for that is one thing which can by inspection destroy such a system. Surely I can understand this, and I hate it and I will fight against it to preserve the one thing that separates us from the uncreative beasts. If the glory can be killed, we are lost.

Throughout the Middle Ages, Jews had no part in the culture of Christian countries, and were too severely persecuted to be able to make contributions to civilization, beyond supplying capital for the building of cathedrals and such enterprises. It was only among the Mohammedans, at that period, that Jews were treated humanely, and were able to pursue philosophy and enlightened speculation. Throughout the Middle Ages, the Mohammedans were more civilized and more humane than the Christians. Christians persecuted Jews, especially at times of religious excitement; the Crusades were associated with appalling pogroms. In Mohammedan countries, on the contrary, Jews at most times were not in any way ill treated. Especially in Moorish Spain, they contributed to learning; Maimonides (1135–1204), who was born at Cordova, is regarded by some as the source of much of Spinoza’s philosophy.Mohammedan civilization in its great days was admirable in the arts and in many technical ways, but it showed no capacity for independent speculation in theoretical matters. Its importance, which must not be under-rated, is as a transmitter. Between ancient and modern European civilization, the dark ages intervened. The Mohammedans and the Byzantines, while lacking the intellectual energy required for innovation, preserved the apparatus of civilization—education, books, and learned leisure. Both stimulated the West when it emerged from barbarism—the Mohammedans chiefly in the thirteenth century, the Byzantines chiefly in the fifteenth.

When, without the bitterness of impotent rebellion, we have learnt both to resign ourselves to the outward rules of Fate and to recognise that the non-human world is unworthy of our worship, it becomes possible at last so to transform and refashion the unconscious universe, so to transmute it in the crucible of imagination, that a new image of shining gold replaces the old idol of clay. In all the multiform facts of the world--in the visual shapes of trees and mountains and clouds, in the events of the life of man, even in the very omnipotence of Death--the insight of creative idealism can find the reflection of a beauty which its own thoughts first made. In this way mind asserts its subtle mastery over the thoughtless forces of Nature. The more evil the material with which it deals, the more thwarting to untrained desire, the greater is its achievement in inducing the reluctant rock to yield up its hidden treasures, the prouder its victory in compelling the opposing forces to swell the pageant of its triumph. Of all the arts, Tragedy is the proudest, the most triumphant; for it builds its shining citadel in the very centre of the enemy's country, on the very summit of his highest mountain; from its impregnable watchtowers, his camps and arsenals, his columns and forts, are all revealed; within its walls the free life continues, while the legions of Death and Pain and Despair, and all the servile captains of tyrant Fate, afford the burghers of that dauntless city new spectacles of beauty. Happy those sacred ramparts, thrice happy the dwellers on that all-seeing eminence. Honour to those brave warriors who, through countless ages of warfare, have preserved for us the priceless heritage of liberty, and have kept undefiled by sacrilegious invaders the home of the unsubdued.

Ode to the West Wind I O wild West Wind, thou breath of Autumn’s being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes: O thou, Who chariotest to their dark wintry bed The winged seeds, where they lie cold and low, Each like a corpse within its grave, until Thine azure sister of the Spring shall blow Her clarion o’er the dreaming earth, and fill (Driving sweet buds like flocks to feed in air) With living hues and odours plain and hill: Wild Spirit, which art moving everywhere; Destroyer and preserver; hear, oh hear! II Thou on whose stream, mid the steep sky’s commotion, Loose clouds like earth’s decaying leaves are shed, Shook from the tangled boughs of Heaven and Ocean, Angels of rain and lightning: there are spread On the blue surface of thine aëry surge, Like the bright hair uplifted from the head Of some fierce Maenad, even from the dim verge Of the horizon to the zenith’s height, The locks of the approaching storm. Thou dirge Of the dying year, to which this closing night Will be the dome of a vast sepulchre, Vaulted with all thy congregated might Of vapours, from whose solid atmosphere Black rain, and fire, and hail will burst: oh hear! III Thou who didst waken from his summer dreams The blue Mediterranean, where he lay, Lull’d by the coil of his crystàlline streams, Beside a pumice isle in Baiae’s bay, And saw in sleep old palaces and towers Quivering within the wave’s intenser day, All overgrown with azure moss and flowers So sweet, the sense faints picturing them! Thou For whose path the Atlantic’s level powers Cleave themselves into chasms, while far below The sea-blooms and the oozy woods which wear The sapless foliage of the ocean, know Thy voice, and suddenly grow gray with fear, And tremble and despoil themselves: oh hear! IV If I were a dead leaf thou mightest bear; If I were a swift cloud to fly with thee; A wave to pant beneath thy power, and share The impulse of thy strength, only less free Than thou, O uncontrollable! If even I were as in my boyhood, and could be The comrade of thy wanderings over Heaven, As then, when to outstrip thy skiey speed Scarce seem’d a vision; I would ne’er have striven As thus with thee in prayer in my sore need. Oh, lift me as a wave, a leaf, a cloud! I fall upon the thorns of life! I bleed! A heavy weight of hours has chain’d and bow’d One too like thee: tameless, and swift, and proud. V Make me thy lyre, even as the forest is: What if my leaves are falling like its own! The tumult of thy mighty harmonies Will take from both a deep, autumnal tone, Sweet though in sadness. Be thou, Spirit fierce, My spirit! Be thou me, impetuous one! Drive my dead thoughts over the universe Like wither’d leaves to quicken a new birth! And, by the incantation of this verse, Scatter, as from an unextinguish’d hearth Ashes and sparks, my words among mankind! Be through my lips to unawaken’d earth The trumpet of a prophecy! O Wind, If Winter comes, can Spring be far behind?

Here’s a simple definition of ideology: “A set of beliefs about the proper order of society and how it can be achieved.”8 And here’s the most basic of all ideological questions: Preserve the present order, or change it? At the French Assembly of 1789, the delegates who favored preservation sat on the right side of the chamber, while those who favored change sat on the left. The terms right and left have stood for conservatism and liberalism ever since. Political theorists since Marx had long assumed that people chose ideologies to further their self-interest. The rich and powerful want to preserve and conserve; the peasants and workers want to change things (or at least they would if their consciousness could be raised and they could see their self-interest properly, said the Marxists). But even though social class may once have been a good predictor of ideology, that link has been largely broken in modern times, when the rich go both ways (industrialists mostly right, tech billionaires mostly left) and so do the poor (rural poor mostly right, urban poor mostly left). And when political scientists looked into it, they found that self-interest does a remarkably poor job of predicting political attitudes.9 So for most of the late twentieth century, political scientists embraced blank-slate theories in which people soaked up the ideology of their parents or the TV programs they watched.10 Some political scientists even said that most people were so confused about political issues that they had no real ideology at all.11 But then came the studies of twins. In the 1980s, when scientists began analyzing large databases that allowed them to compare identical twins (who share all of their genes, plus, usually, their prenatal and childhood environments) to same-sex fraternal twins (who share half of their genes, plus their prenatal and childhood environments), they found that the identical twins were more similar on just about everything.12 And what’s more, identical twins reared in separate households (because of adoption) usually turn out to be very similar, whereas unrelated children reared together (because of adoption) rarely turn out similar to each other, or to their adoptive parents; they tend to be more similar to their genetic parents. Genes contribute, somehow, to just about every aspect of our personalities.13 We’re not just talking about IQ, mental illness, and basic personality traits such as shyness. We’re talking about the degree to which you like jazz, spicy foods, and abstract art; your likelihood of getting a divorce or dying in a car crash; your degree of religiosity, and your political orientation as an adult. Whether you end up on the right or the left of the political spectrum turns out to be just as heritable as most other traits: genetics explains between a third and a half of the variability among people on their political attitudes.14 Being raised in a liberal or conservative household accounts for much less. How can that be? How can there be a genetic basis for attitudes about nuclear power, progressive taxation, and foreign aid when these issues only emerged in the last century or two? And how can there be a genetic basis for ideology when people sometimes change their political parties as adults? To answer these questions it helps to return to the definition of innate that I gave in chapter 7. Innate does not mean unmalleable; it means organized in advance of experience. The genes guide the construction of the brain in the uterus, but that’s only the first draft, so to speak. The draft gets revised by childhood experiences. To understand the origins of ideology you have to take a developmental perspective, starting with the genes and ending with an adult voting for a particular candidate or joining a political protest. There are three major steps in the process. Step

So often have I studied the views of Florence, that I was familiar with the city before I ever set foot within its walls; I found that I could thread my way through the streets without a guide. Turning to the left I passed before a bookseller's shop, where I bought a couple of descriptive surveys of the city (guide). Twice only was I forced to inquire my way of passers by, who answered me with politeness which was wholly French and with a most singular accent; and at last I found myself before the facade of Santa Croce. Within, upon the right of the doorway, rises the tomb of Michelangelo; lo! There stands Canova's effigy of Alfieri; I needed no cicerone to recognise the features of the great Italian writer. Further still, I discovered the tomb of Machiavelli; while facing Michelangelo lies Galileo. What a race of men! And to these already named, Tuscany might further add Dante, Boccaccio and Petrarch. What a fantastic gathering! The tide of emotion which overwhelmed me flowed so deep that it scarce was to be distinguished from religious awe. The mystic dimness which filled the church, its plain, timbered roof, its unfinished facade – all these things spoke volumes to my soul. Ah! Could I but forget...! A Friar moved silently towards me; and I, in the place of that sense of revulsion all but bordering on physical horror which usually possesses me in such circumstances, discovered in my heart a feeling which was almost friendship. Was not he likewise a Friar, Fra Bartolomeo di San Marco, that great painter who invented the art of chiaroscuro, and showed it to Raphael, and was the forefather of Correggio? I spoke to my tonsured acquaintance, and found in him an exquisite degree of politeness. Indeed, he was delighted to meet a Frenchman. I begged him to unlock for me the chapel in the north-east corner of the church, where are preserved the frescoes of Volterrano. He introduced me to the place, then left me to my own devices. There, seated upon the step of a folds tool, with my head thrown back to rest upon the desk, so that I might let my gaze dwell on the ceiling, I underwent, through the medium of Volterrano's Sybills, the profoundest experience of ecstasy that, as far as I am aware, I ever encountered through the painter's art. My soul, affected by the very notion of being in Florence, and by proximity of those great men whose tombs I had just beheld, was already in a state of trance. Absorbed in the contemplation of sublime beauty, I could perceive its very essence close at hand; I could, as it were, feel the stuff of it beneath my fingertips. I had attained to that supreme degree of sensibility where the divine intimations of art merge with the impassioned sensuality of emotion. As I emerged from the porch of Santa Croce, I was seized with a fierce palpitations of the heart (that same symptom which, in Berlin, is referred to as an attack of nerves); the well-spring of life was dried up within me, and I walked in constant fear of falling to the ground. I sat down on one of the benches which line the piazza di Santa Croce; in my wallet, I discovered the following lines by Ugo Foscolo, which I re-read now with a great surge of pleasure; I could find no fault with such poetry; I desperately needed to hear the voice of a friend who shared my own emotion (…)