Resignation Celebration Quotes

At the end of that class Demian said to me thoughtfully: "There’s something I don’t like about this story, Sinclair. Why don’t you read it once more and give it the acid test? There’s something about it that doesn’t taste right. I mean the business with the two thieves. The three crosses standing next to each other on the hill are almost impressive, to be sure. But now comes this sentimental little treatise about the good thief. At first he was a thorough scoundrel, had committed all those awful things and God knows what else, and now he dissolves in tears and celebrates such a tearful feast of self-improvement and remorse! What’s the sense of repenting if you’re two steps from the grave? I ask you. Once again, it’s nothing but a priest’s fairy tale, saccharine and dishonest, touched up with sentimentality and given a high edifying background. If you had to pick a friend from between the two thieves or decide which one you’d rather trust, you most certainly wouldn’t choose the sniveling convert. No, the other fellow, he’s a man of character. He doesn’t give a hoot for ‘conversion’, which to a man in his position can’t be anything but a pretty speech. He follows his destiny to it’s appointed end and does not turn coward and forswear the devil, who has aided and abetted him until then. He has character, and people with character tend to receive the short end of the stick in biblical stories. Perhaps he’s even a descendant of Cain. Don’t you agree?" I was dismayed. Until now I had felt completely at home in the story of the Crucifixion. Now I saw for the first time with how little individuality, with how little power of imagination I had listened to it and read it. Still, Demian’s new concept seemed vaguely sinister and threatened to topple beliefs on whose continued existence I felt I simply had to insist. No, one could not make light of everything, especially not of the most Sacred matters. As usual he noticed my resistance even before I had said anything. "I know," he said in a resigned tone of voice, "it’s the same old story: don’t take these stories seriously! But I have to tell you something: this is one of the very places that reveals the poverty of this religion most distinctly. The point is that this God of both Old and New Testaments is certainly an extraordinary figure but not what he purports to represent. He is all that is good, noble, fatherly, beautiful, elevated, sentimental—true! But the world consists of something else besides. And what is left over is ascribed to the devil, this entire slice of world, this entire half is hushed up. In exactly the same way they praise God as the father of all life but simply refuse to say a word about our sexual life on which it’s all based, describing it whenever possible as sinful, the work of the devil. I have no objection to worshiping this God Jehovah, far from it. But I mean we ought to consider everything sacred, the entire world, not merely this artificially separated half! Thus alongside the divine service we should also have a service for the devil. I feel that would be right. Otherwise you must create for yourself a God that contains the devil too and in front of which you needn’t close your eyes when the most natural things in the world take place.

There’s nothing like sorrow to get your attention. It is almost as though sorrow pulls presence out of you. In the midst of sorrow there’s nothing to do but be there and celebrate the hurt. We celebrate the hurt through holy screams. Holy screams come from the heart. They are screams that people often, in their ignorance, try to smother. Don’t let them take your screams away too early. Holy resignation comes only after holy screams.

It is a mistake to think of the expatriate as someone who abdicates, who withdraws and humbles himself, resigned to his miseries, his outcast state. On a closer look, he turns out to be ambitious, aggressive in his disappointments, his very acrimony qualified by his belligerence. The more we are dispossessed, the more intense our appetites and illusions become. I even discern some relation between misfortune and megalomania. The man who has lost everything preserves as a last resort the hope of glory, or of literary scandal. He consents to abandon everything, except his name. [ . . . ] Let us say a man writes a novel which makes him, overnight, a celebrity. In it he recounts his sufferings. His compatriots in exile envy him: they too have suffered, perhaps more. And the man without a country becomes—or aspires to become—a novelist. The consequence: an accumulation of confusions, an inflation of horrors, of frissons that date. One cannot keep renewing Hell, whose very characteristic is monotony, or the face of exile either. Nothing in literature exasperates a reader so much as The Terrible; in life, it too is tainted with the obvious to rouse our interest. But our author persists; for the time being he buries his novel in a drawer and awaits his hour. The illusion of surprise, of a renown which eludes his grasp but on which he reckons, sustains him; he lives on unreality. Such, however, is the power of this illusion that if, for instance, he works in some factory, it is with the notion of being freed from it one day or another by a fame as sudden as it is inconceivable. * Equally tragic is the case of the poet. Walled up in his own language, he writes for his friends—for ten, for twenty persons at the most. His longing to be read is no less imperious than that of the impoverished novelist. At least he has the advantage over the latter of being able to get his verses published in the little émigré reviews which appear at the cost of almost indecent sacrifices and renunciations. Let us say such a man becomes—transforms himself—into an editor of such a review; to keep his publication alive he risks hunger, abstains from women, buries himself in a windowless room, imposes privations which confound and appall. Tuberculosis and masturbation, that is his fate. No matter how scanty the number of émigrés, they form groups, not to protect their interests but to get up subscriptions, to bleed each other white in order to publish their regrets, their cries, their echoless appeals. One cannot conceive of a more heart rending form of the gratuitous. That they are as good poets as they are bad prose writers is to be accounted for readily enough. Consider the literary production of any "minor" nation which has not been so childish as to make up a past for itself: the abundance of poetry is its most striking characteristic. Prose requires, for its development, a certain rigor, a differentiated social status, and a tradition: it is deliberate, constructed; poetry wells up: it is direct or else totally fabricated; the prerogative of cave men or aesthetes, it flourishes only on the near or far side of civilization, never at the center. Whereas prose demands a premeditated genius and a crystallized language, poetry is perfectly compatible with a barbarous genius and a formless language. To create a literature is to create a prose.

I think—and it is something I have thought about for a while—that there is a measure of heroism in providing safe harbor. Not actively saving anyone so much as providing the space for them to save themselves. It takes a lot of effort and patience and kindness and a resignation that while you may be thanked, you will never be celebrated for it.

And there are plays – and books and songs and poems and dances – that are perhaps upsetting or intricate or unusual, that leave you unsure, but which you think about perhaps the next day, and perhaps for a week, and perhaps for the rest of your life. Because they aren't clean, they aren't neat, but there's something in them that comes from the heart, and, so, goes to the heart. What comes from the head is perceived by the audience, the child, the electorate, as manipulative. And we may succumb to the manipulative for a moment because it makes us feel good to side with the powerful. But finally we understand we're being manipulated. And we resent it. Tragedy is a celebration not of our eventual triumph but of the truth – it is not a victory but a resignation. Much of its calmative power comes, again, from that operation described by Shakespeare: when remedy is exhausted, so is grief.

The story is told about three men who were sentenced to death by guillotine. One was a doctor, another a lawyer, and the third an engineer. The day of execution arrived, and the three prisoners were lined up on the gallows. “Do you wish to face the blade, or look away?” the henchman asked the doctor. “I’ll face the blade!” the physician courageously replied. The doctor placed his neck onto the guillotine, and the executioner pulled the rope to release the blade. Then an amazing thing happened – the blade fell to a point just inches above the doctor’s neck, and stopped! The crowd of gathered townspeople was astonished, and tittered with speculation. After a bevy of excited discussions, the executioner told the doctor, “This is obviously a sign from God that you do not deserve to die. Go forth – you are pardoned.” Joyfully the doctor arose and went on his way. The second man to confront death was the lawyer, who also chose to face the blade. The cord was pulled, down fell the blade, and once again it stopped but a few inches from the man’s naked throat! Again the crowd buzzed – two miracles in one day! Just as he did minutes earlier, the executioner informed the prisoner that divine intervention had obviously been issued, and he, too, was free. Happily he departed. The final prisoner was the engineer who, like his predecessors, chose to face the blade. He fitted his neck into the crook of the guillotine and looked up at the apparatus above him. The executioner was about to pull the cord when the engineer pointed to the pulley system and called out, “Wait a minute! – I think I can see the problem!” Within each of us there resides an overworking engineer who is more concerned with analyzing the problem than accepting the solution. Many of us have become so resigned to receiving the short end of the stick in life, that if we were offered the long end, we would doubt its authenticity and refuse it. We must be willing to drop the heavy load of guilt, unworthiness, and self-denial we have carried for so long, perhaps lifetimes. We must openly affirm that we are ready to receive all the good that life has to offer us, without argument or wariness. Then we must accept our good – not just in word, but in action. In so doing we claim our right to live in a new world – one which attests that we are deserving not of punishment, but of release, freedom, and celebration.

The one thing that seemed to be on our side, however, was the reality on the streets of Egypt. Day after day, the protests spread and Mubarak’s regime seemed to crumble around him. On February 11, I woke to the news that Mubarak had fled to the resort town of Sharm el Sheikh and resigned. It was, it seemed, a happy ending. Jubilant crowds celebrated in the streets of Cairo. I drafted a statement for Obama that drew comparisons between what had just taken place and some of the iconic movements of the past several decades—Germans tearing down a wall, Indonesians upending a dictatorship, Indians marching nonviolently for independence. I went up to the Oval Office that morning to review the statement with Obama. “You should feel good about this,” he said. “I do,” I replied. “Though I’m not sure all of the principals do.” “You know,” he said, “one of the things that made it easier for me is that I didn’t really know Mubarak.” He mentioned that George H. W. Bush had called Mubarak at the height of the protests to express his support. “But it’s not just Bush. The Clintons, Gates, Biden—they’ve known Mubarak[…] “for decades.” I thought of Biden’s perennial line: All foreign policy is an “extension of personal relationships. “If it had been King Abdullah,” Obama said, referring to the young Jordanian monarch with whom he’d struck up a friendship, “I don’t know if I could have done the same thing.” As Obama delivered a statement to a smattering of press, it seemed that history might at last be breaking in a positive direction in the Middle East. His tribute to the protests was unabashed. Yet our own government was still wired to defer to the Egyptian military, and ill equipped to support a transition to democracy once the president had spoken.

Japanese tragedy illustrates this aspect of the Trinity better than Greek tragedy, Kitamori taught, because it is based on the feeling expressed by the word tsurasa. This is the peculiar pain felt when someone dies in behalf of another. yet the term implies neither bitterness nor sadness. Nor is tsurasa burdened with the dialectical tension in the struggle with fate that is emphasized in Greek drama, since dialectic is a concept foreign to Japan. Tsurasa is pain with resignation and acceptance. Kitamori called our attention to a Kabuki play, The Village School. The feudal lord of a retainer named Matsuo is defeated in battle and forced into exile. Matsuo feigns allegiance to the victor but remains loyal to his vanquished lord. When he learns that his lord's son and heir, Kan Shusai, has been traced to a village school and marked for execution, Matsuo resolves to save the boy's life. The only way to do this, he realizes, is to substitute a look-alike who can pass for Kan Shusai and be mistakenly killed in his place. Only one substitute will likely pass: Matsuo's own son. So when the enemy lord orders the schoolmaster to produce the head of Kan Shusai, Matsuo's son consents to be beheaded instead. The plot succeeds: the enemy is convinced that the proffered head is that of Kan Shusai. Afterwards, in a deeply emotional scene, the schoolmaster tells Matsuo and his wife that their son died like a true samurai to save the life of the other boy. The parents burst into tears of tsurasa. 'Rejoice my dear,' Matsuo says consolingly to his wife. 'Our son has been of service to our lord.' Tsurasa is also expressed in a Noh drama, The Valley Rite. A fatherless boy named Matsuwaka is befriended by the leader of a band of ascetics, who invites him to accompany the band on a pilgrimage up a sacred mountain. On the way, tragically, Matsuwaka falls ill. According to an ancient and inflexible rule of the ascetics, anyone who falls ill on a pilgrimage must be put to death. The band's leader is stricken with sorrow; he cannot bear to sacrifice the boy he has come to love as his own son. He wishes that 'he could die and the boy live.' But the ascetics follow the rule. They hurl the boy into a ravine, then fling stones and clods of dirt to bury him. The distressed leader then asks to be thrown into the ravine after the boy. His plea so moves the ascetics that they pray for Matsuwaka to be restored to life. Their prayer is answered, and mourning turns to celebration. So it was with God's sacrifice of his Son. The Son's obedience to the Father, the Father's pain in the suffering and death of the Son, the Father's joy in the resurrection - these expressions of a deep personal relationship enrich our understanding of the triune God. Indeed, the God of dynamic relationships within himself is also involved with us his creatures. No impassive God, he interacts with the society of persons he has made in his own image. He expresses his love to us. He shares in our joys and sorrows. This is true of the Holy Spirit as well as the Father and Son... Unity, mystery, relationship - these are the principles of Noh that inform our understanding of the on God as Father, Son, and Spirit; or as Parent, Child, and Spirit; or as Creator, Redeemer, Sanctifier...this amazing doctrine inspires warm adoration, not cold analysis. It calls for doxology, not definition.

there is a measure of heroism in providing safe harbor. Not actively saving anyone so much as providing the space for them to save themselves. It takes a lot of effort and patience and kindness and a resignation that while you may be thanked, you will never be celebrated for it.

We were celebrating our first month of marriage in a very nontraditional way—him sampling my favorite cereal—because nothing about us was traditional. I loved that we broke the mold with what happiness was supposed to look like. We’d created our own rules since the day we resigned to the fact that together we were perfectly imperfect.

You said it yourself. For the summer solstice. It’s important to me to be in nature for the celebration. I’m a great fan of Thoreau, as you’ve probably gathered. He said, ‘Live in each season as it passes; breathe the air, drink the drink, taste the fruit, and resign yourself to the influence of the earth.’ At midnight before the solstice, I’ll light a fire, and hold a vigil until sunrise.

Autumn Psalm A full year passed (the seasons keep me honest) since I last noticed this same commotion. Who knew God was an abstract expressionist? I’m asking myself—the very question I asked last year, staring out at this array of racing colors, then set in motion by the chance invasion of a Steller’s jay. Is this what people mean by speed of light? My usually levelheaded mulberry tree hurling arrows everywhere in sight— its bow: the out-of-control Virginia creeper my friends say I should do something about, whose vermilion went at least a full shade deeper at the provocation of the upstart blue, the leaves (half green, half gold) suddenly hyper in savage competition with that red and blue— tohubohu returned, in living color. Kandinsky: where were you when I needed you? My attempted poem would lie fallow a year; I was so busy focusing on the desert’s stinginess with everything but rumor. No place even for the spectrum’s introverts— rose, olive, gray—no pigment at all— and certainly no room for shameless braggarts like the ones that barge in here every fall and make me feel like an unredeemed failure even more emphatically than usual. And here they are again, their fleet allure still more urgent this time—the desert’s gone; I’m through with it, want something fuller— why shouldn’t a person have a little fun, some utterly unnecessary extravagance? Which was—at least I think it was—God’s plan when He set up (such things are never left to chance) that one split-second assignation with genuine, no-kidding-around omnipotence what, for lack of better words, I’m calling vision. You breathe in, and, for once, there’s something there. Just when you thought you’d learned some resignation, there’s real resistance in the nearby air until the entire universe is swayed. Even that desert of yours isn’t quite so bare and God’s not nonexistent; He’s just been waylaid by a host of what no one could’ve foreseen. He’s got plans for you: this red-gold-green parade is actually a fairly detailed outline. David never needed one, but he’s long dead and God could use a little recognition. He promises. It won’t go to His head and if you praise Him properly (an autumn psalm! Why didn’t I think of that?) you’ll have it made. But while it’s true that my Virginia creeper praises Him, its palms and fingers crimson with applause, that the local breeze is weaving Him a diadem, inspecting my tree’s uncut gold for flaws, I came to talk about the way that violet-blue sprang the greens and reds and yellows into action: actual motion. I swear it’s true though I’m not sure I ever took it in. Now I’d be prepared, if some magician flew into my field of vision, to realign that dazzle out my window yet again. It’s not likely, but I’m keeping my eyes open though I still wouldn’t be able to explain precisely what happened to these vines, these trees. It isn’t available in my tradition. For this, I would have to be Chinese, Wang Wei, to be precise, on a mountain, autumn rain converging on the trees, a cassia flower nearby, a cloud, a pine, washerwomen heading home for the day, my senses and the mountain so entirely in tune that when my stroke of blue arrives, I’m ready. Though there is no rain here: the air’s shot through with gold on golden leaves. Wang Wei’s so giddy he’s calling back the dead: Li Bai! Du Fu! Guys! You’ve got to see this—autumn sun! They’re suddenly hell-bent on learning Hebrew in order to get inside the celebration, which explains how they wound up where they are in my university library’s squashed domain. Poor guys, it was Hebrew they were looking for, but they ended up across the aisle from Yiddish— some Library of Congress cataloger’s sense of humor: the world’s calmest characters and its most skittish squinting at each other, head to head, all silently intoning some version of kaddish. Part 1

I'm not interested in proving or disproving God, I long resigned from all such arguments. I am a pilgrim of love and life, all are welcome, all are celebrated.