Reveal And Conceal Quotes

Education: that which reveals to the wise, and conceals from the stupid, the vast limits of their knowledge.

Why? Why does what was beautiful suddenly shatter in hindsight because it concealed dark truths? Why does the memory of years of happy marriage turn to gall when our partner is revealed to have had a lover all those years? Because such a situation makes it impossible to be happy? But we were happy! Sometimes the memory of happiness cannot stay true because it ended unhappily. Because happiness is only real if it lasts forever? Because things always end painfully if they contained pain, conscious or unconscious, all along? But what is unconscious, unrecognized pain?

For words, like Nature, half reveal And half conceal the Soul within.

I sometimes hold it half a sin To put in words the grief I feel; For words, like Nature, half reveal And half conceal the Soul within. But, for the unquiet heart and brain, A use in measured language lies; The sad mechanic exercise, Like dull narcotics, numbing pain. In words, like weeds, I'll wrap me o'er, Like coarsest clothes against the cold: But that large grief which these enfold Is given in outline and no more. In Memoriam A.H.H. Section 5

But although the cliche says that power always corrupts, what is seldom said ... is that power always reveals. When a man is climbing, trying to persuade others to give him power, concealment is necessary. ... But as a man obtains more power, camouflage becomes less necessary.

I sometimes find it half a sin, To put to words the grief i feel, For words like nature,half reveal, and half conceal the soul within,

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim.

Sleep conceals the creative act while the objective world reveals it. In sleep man impresses the subconscious with his conception of himself.

Now and then, an inch below the water's surface, the muscles of his stomach tightened involuntarily as he recalled another detail. A drop of water on her upper arm. Wet. An embroidered flower, a simple daisy, sewn between the cups of her bra. Her breasts wide apart and small. On her back, a mole half covered by a strap. When she climbed out of the pond a glimpse of the triangular darkness her knickers were supposed to conceal. Wet. He saw it, he made himself see it again. The way her pelvic bones stretched the material clear of the skin, the deep curve of her waist, her startling whiteness. When she reached for her skirt, a carelessly raised foot revealed a patch of soil on each pad of her sweetly diminished toes. Another mole the size of a farthing on her thigh and something purplish on her calf--a strawberry mark, a scar. Not blemishes. Adornments.

Statistics are like bikinis. What they reveal is suggestive, but what they conceal is vital.

The futility of everything that comes to us from the media is the inescapable consequence of the absolute inability of that particular stage to remain silent. Music, commercial breaks, news flashes, adverts, news broadcasts, movies, presenters—there is no alternative but to fill the screen; otherwise there would be an irremediable void. We are back in the Byzantine situation, where idolatry calls on a plethora of images to conceal from itself the fact that God no longer exists. That's why the slightest technical hitch, the slightest slip on the part of a presenter becomes so exciting, for it reveals the depth of the emptiness squinting out at us through this little window.

But who will dare to speak the truth out clear? The few who anything of truth have learned, And foolishly did not keep truth concealed, Their thoughts and visions to the common herd revealed, Since time began we've crucified and burned

But flaming youth in all it's madness Keeps nothing of its heart concealed: It's loves and hates, its joys and sadness, Are babbled out and soon revealed.

Masks reveal. They don’t conceal. Masks reveal your cravings, your passion, your deepest most secret desires.

She loved him. But he didn’t know how to love. He could talk about love. He could see love and feel love. But he couldn’t give love. He could make love. But he couldn’t make promises. She had desperately wanted his promises. She wanted his heart, knew she couldn’t have it so she took what she could get. Temporary bliss. Passionate highs and lows. Withdrawal and manipulation. He only stayed long enough to take what he needed and keep moving. If he stopped moving, he would self-destruct. If he stopped wandering, he would have to face himself. He chose to stay in the dark where he couldn’t see. If he exposed himself and the sun came out, he’d see his shadow. He was deathly afraid of his shadow. She saw his shadow, loved it, understood it. Saw potential in it. She thought her love would change him. He pushed and he pulled, tested boundaries, thinking she would never leave. He knew he was hurting her, but didn’t know how to share anything but pain. He was only comfortable in chaos. Claiming souls before they could claim him. Her love, her body, she had given to him and he’d taken with such feigned sincerity, absorbing every drop of her. His dark heart concealed. She’d let him enter her spirit and stroke her soul where everything is love and sensation and surrender. Wide open, exposed to deception. It had never occurred to her that this desire was not love. It was blinding the way she wanted him. She couldn’t see what was really happening, only what she wanted to happen. She suspected that he would always seek to minimize the risk of being split open, his secrets revealed. He valued his soul’s privacy far more than he valued the intimacy of sincere connection so he kept his distance at any and all costs. Intimacy would lead to his undoing—in his mind, an irrational and indulgent mistake. When she discovered his indiscretions, she threw love in his face and beat him with it. Somewhere deep down, in her labyrinth, her intricacy, the darkest part of her soul, she relished the mayhem. She felt a sense of privilege for having such passion in her life. He stirred her core. The place she dared not enter. The place she could not stir for herself. But something wasn’t right. His eyes were cold and dark. His energy, unaffected. He laughed at her and her antics, told her she was a mess. Frantic, she looked for love hiding in his eyes, in his face, in his stance, and she found nothing but disdain. And her heart stopped.

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things.

If you fall in love with jerk, don't you just reject him. He may reveal the jerk part of you which concealed.

There's a kind of magic in masks. Masks conceal one face, but they reveal another. The one that only comes out in darkness. I bet you could do just what you liked, behind a mask ... ?

Stand up for your conscience. Use light to reveal what is concealed in the darkness. Use truth to fight the lies, and the heart to fight the mind.

It often seems to me that art conceals the artist far more completely than it ever reveals him.

I am your lover, come to my side, I will open the gate to your love. Come settle with me, let us be neighbors to the stars. You have been hiding so long, endlessly drifting in the sea of my love. Even so, you have always been connected to me. Concealed, revealed, in the unknown, in the un-manifest. I am life itself. You have been a prisoner of a little pond, I am the ocean and its turbulent flood. Come merge with me, leave this world of ignorance. Be with me, I will open the gate to your love.

Words, like nature, half reveal and half conceal the soul within.

To reveal art and conceal the artist is art's aim.

it would be a very good thing if people were taught how to speak. Language is the noblest instrument we have, either for the revealing or the concealing of thought; talk itself is a sort of spiritualized action; and conversation is one of the loveliest of the arts.

Liquor is the kiss of the angels as well as the curse of the devil. It can conceal but also can reveal

Everyone has scars. Cowards conceal them. The brave reveal them.

Perhaps we reveal ourselves too much in small things because we have so little of the great to conceal.

If loneliness is to be defined as a desire for intimacy, then included within that is the need to express oneself and to be heard, to share thoughts, experiences and feelings. Intimacy can't exist if the participants aren't willing to make themselves known, to be revealed. But gauging the levels is tricky. Either you don't communicate enough and remain concealed from other people, or you risk rejection by exposing too much altogether: the minor and major hurts, the tedious obsessions, the abscesses and cataracts of need and shame and longing.

Ultimately, social anxiety is the fear that whatever we’re trying to hide will be revealed to everyone like a gust of wind sweeps away a bad toupee. We think there is something wrong with us and therefore try to conceal it.

For Teaism is the art of concealing beauty that you may discover it, of suggesting what you dare not reveal. It is the noble secret of laughing at yourself, calmly yet thoroughly, and is thus humour itself,--the smile of philosophy.

As a lie can be buried, the truth will always bloom.

Dancing can reveal all the mystery that music conceals.

He will say less than he means, and conceal more than he reveals.

To represent a bad thing in its least offensive light is, doubtless, the most agreeable course for a writer of fiction to pursue; but is it the most honest, or the safest? Is it better to reveal the snares and pitfalls of like to the young and thoughtless traveller, or to cover them with branches and flowers? Oh, reader! if there were less of this delicate concealment of facts--this whispering "Peace, peace," when there is no peace, there would be less of sin and misery to the young of both sexes who are left to wring their bitter knowledge from experience.

It was one of those feminine faces whose every line has its own particular charm, and seems to possess a meaning, whose every movement seems to reveal or to conceal something.

Of what is concealed can also be revealed.

Words, like Nature, half reveal And half conceal the soul within.

FOR HEAVEN'S SAKE, MY HEART! For heaven's sake, my heart, keep secret your love, and hide the secret from those you see and you will have better fortune. He who reveals secrets is considered a fool; silence and secrecy are much better for him who falls in love. For heaven's sake, my heart, if someone asks, "What has happened?", do not answer. If you are asked, "Who is she?"; Say she is in love with another And pretend that it is of no consequence. For heaven's sake, my love, conceal your passion; your sickness is also your medicine because love to the soul is as wine in a glass - what you see is liquid, what is hidden is its spirit. For heaven's sake, my heart, conceal your troubles; then, should the seas roar and the skies fall, you will be safe.

Art is always more abstract than we fancy. Form and colour tell us of form and colour - that is all. It often seems to me that art conceals the artist far more completely than it ever reveals him.

We can fabricate a thousand lies to conceal one truth, but in the end, it is simply a fabrication, a cover, and when that curtain is swept away, the truth will be revealed in the form of the sun bursting through. And we will be blinded by that sun and burned by the lies we told.

A man’s work reveals him. In social intercourse he gives you the surface that he wishes the world to accept, and you can only gain a true knowledge of him by inferences from little actions, of which he is unconscious, and from fleeting expressions, which cross his face unknown to him. Sometimes people carry to such perfection the mask they have assumed that in due course they actually become the person they seem. But in his book or his picture the real man delivers himself defenceless. His pretentiousness will only expose his vacuity. The lathe painted to look like iron is seen to be but a lathe. No affectation of peculiarity can conceal a commonplace mind. To the acute observer no one can produce the most casual work without disclosing the innermost secrets of the soul.

The process in which a writer is compelled to counterfeit his true feelings is exactly the opposite of that which the man of society is compelled to counterfeit his. The artist disguises in order to reveal; the man of society disguises in order to conceal

For we are opposed around the world by a monolithic and ruthless conspiracy that relies primarily on covert means for expanding its sphere of influence -- on infiltration instead of invasion, on subversion instead of elections, on intimidation instead of free choice, on guerrillas by night instead of armies by day. It is a system which has conscripted vast human and material resources into the building of a tightly knit, highly efficient machine that combines military, diplomatic, intelligence, economic, scientific and political operations. Its preparations are concealed, not published. Its mistakes are buried, not headlined. Its dissenters are silenced, not praised. No expenditure is questioned, no rumor is printed, no secret is revealed. It conducts the Cold War, in short, with a war-time discipline no democracy would ever hope or wish to match.

A firm's income statement may be, likened to a bikini-what it reveals is interesting but what it conceals is vital.

Nicknames reveal the man; real names conceal the man.

We find everywhere in this world the traces of a revealed God and of a hidden God; revealed enough to strengthen our faith, concealed enough to try our faith.

He was his usual philosophic self and tried very hard to explain to me that although life was stained with agony, this was necessary. That scars only concealed, and finally helped to reveal, an essential peace. He said that what we, who pass so swiftly, experience as songs of love or cries of pain are only overtones to a single note in a very much larger harmony.

Of our pasts we seemed to know all we needed to know. Nothing was concealed, and though nothing was overtly revealed, all was known. In guilt and in forgiveness we counted ourselves equals, and always had. The sun himself envied us.

We can fabricate a thousand lies to conceal one truth, but in the end, it is simply a fabrication, a cover, and when that curtain is swept away, the truth will be revealed in the form of the sun bursting through. And we will be blinded by that sun and burned by the lies we told.

Lantern-shine, dim but kind— No starkness in darkness— Even I please the eye. Outside, wind and rain, Weather’s fitful wax and wane. Tomorrow’s sun will reveal What night conceals. All we lack, regret, know, Forgotten in lamp-oil glow.

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.

For life is an expression, our unconscious actions the constant betrayal of our innermost thought. Confucius said that "man hideth not." Perhaps we reveal ourselves too much in small things because we have so little of the great to conceal.

Even now I cannot help feeling that it is a mistake to think that the passion one feels in creation is ever really shown in the work one creates. Art is always more abstract than we fancy. Form and colour tell us of form and colour--that is all. It often seems to me that art conceals the artist far more completely than it ever reveals him.

When carving stone, the sculptor removes everything that is not the statue. […] The art of revealing beauty lies in removing what conceals it. So, too, Patanjali [in the Yoga Sutras] tells us that wholeness exists within us. Our work is to chisel away at everything that is not essence, not Self.

Talking so much you horrify yourself and those around you; talking so little that you almost refuse your own existence: a demonstrates that speech is by no means a straightforward route to connection. If loneliness is to be defined as a desire for intimacy, then included within that is the need to express oneself and to be heard, to share thoughts, experiences and feelings. Intimacy can’t exist if the participants aren’t willing to make themselves known, to be revealed. But gauging the levels is tricky. Either you don’t communicate enough and remain concealed from other people, or you risk rejection by exposing too much altogether: the minor and major hurts, the tedious obsessions, the abscesses and cataracts of need and shame and longing.

But what becomes of the divinity when it reveals itself in icons, when it is simply incarnated in images as a visible theology? Or does it volatilize itself in the simulacra that, alone, deploy their power and pomp of fascination - the visible machinery of icons substituted for the pure and intelligible Idea of God? This is precisely what was feared by Iconoclasts, whose millennial quarrel is still with us today. This is precisely because they predicted this omnipotence of simulacra, the faculty simulacra have of effacing God from the conscience of man, and the destructive, annihilating truth that they allow to appear - that deep down God never existed, even God himself was never anything but his own simulacra - from this came their urge to destroy the images. If they could have believed that these images only obfuscated or masked the Platonic Idea of God, there would have been no reason to destroy them. One can live with the idea of distorted truth. But their metaphysical despair came from the idea that the image didn't conceal anything at all.

Truth is as straight as an arrow, while a lie swivels all over the place. You can hide Truth under a doormat, but eventually the mat will rise very high with Time — forcing it to reveal all the truths it conceals.

Every person is driven to self-deceive, simply to get out of the discomfort of the truth. The best relationships are with people who will not let you be blind. They reveal your hidden strengths and your concealed wounds.

The verb 'to darn' is explained in my pocket dictionary as follows: 'To mend by imitating the texture of the stuff, with thread and needle.' But this definition does not correspond to the work accomplished by good Chinese housewives. When they mend a sock, they do not try 'to imitate the texture of the stuff'. Their art makes no attempt at concealment: it even takes a certain pride in revealing itself.

But politeness and candour run together, when one is not fitting neither is the other. Then the occasion calls for silence, that frail partition between the ill-concealed and the ill-revealed, the clumsily false and the unavoidably so.

The life that I touch for good or ill will touch another life, and that in turn another, until who knows where the trembling stops or in what far place and time my touch will be felt. Our lives are linked together. No man is an island. But there is another truth, the sister of this one, and it is that every man is an island. It is a truth that often the tolling of a silence reveals even more vividly than the tolling of a bell. We sit in silence with one another, each of us more or less reluctant to speak, for fear that if he does, he may sound life a fool. And beneath that there is of course the deeper fear, which is really a fear of the self rather than of the other, that maybe truth of it is that indeed he is a fool. The fear that the self that he reveals by speaking may be a self that the others will reject just as in a way he has himself rejected it. So either we do not speak, or we speak not to reveal who we are but to conceal who we are, because words can be used either way of course. Instead of showing ourselves as we truly are, we show ourselves as we believe others want us to be. We wear masks, and with practice we do it better and better, and they serve us well –except that it gets very lonely inside the mask, because inside the mask that each of us wears there is a person who both longs to be known and fears to be known. In this sense every man is an island separated from every other man by fathoms of distrust and duplicity. Part of what it means to be is to be you and not me, between us the sea that we can never entirely cross even when we would. “My brethren are wholly estranged from me,” Job cries out. “I have become an alien in their eyes.” The paradox is that part of what binds us closest together as human beings and makes it true that no man is an island is the knowledge that in another way every man is an island. Because to know this is to know that not only deep in you is there a self that longs about all to be known and accepted, but that there is also such a self in me, in everyone else the world over. So when we meet as strangers, when even friends look like strangers, it is good to remember that we need each other greatly you and I, more than much of the time we dare to imagine, more than more of the time we dare to admit. Island calls to island across the silence, and once, in trust, the real words come, a bridge is built and love is done –not sentimental, emotional love, but love that is pontifex, bridge-builder. Love that speak the holy and healing word which is: God be with you, stranger who are no stranger. I wish you well. The islands become an archipelago, a continent, become a kingdom whose name is the Kingdom of God.

You always know the creative because it is revealed openly. Concealment betrays the existence of another force entirely.

Rhett, do you really--is it to protect me that you--" "Yes, my dear, it is my much advertised chivalry that makes me protect you." The mocking light began to dance in his black eyes and all signs of earnestness fled from his face. "And why? Because of my deep love for you, Mrs. Kennedy. Yes, I have silently hungered and thirsted for you and worshipped you from afar; but being an honorable man, like Mr. Ashley Wilkes, I have concealed it from you. You are, alas, Frank's wife and honor has forbidden my telling this to you. But even as Mr. Wilkes' honor cracks occasionally, so mine is cracking now and I reveal my secret passion and my--" "Oh, for God's sake, hush!" interrupted Scarlett, annoyed as usual when he made her look like a conceited fool, and not caring to have Ashley and his honor become the subject of further conversation. "What was the other thing you wanted to tell me?" "What! You change the subject when I am baring a loving but lacerated heart?

The quiet, melancholy music gradually gave shape to the undefined sadness enveloping his heart, as if countless microscopic bits of pollen adhered to an invisible being concealed in the air, ultimately revealing, slowly and silently it's shape.

The very word "secrecy" is repugnant in a free and open society; and we are as a people inherently and historically opposed to secret societies, to secret oaths and to secret proceedings...Our way of life is under attack. Those who make themselves our enemy are advancing around the globe...no war ever posed a greater threat to our security. If you are awaiting a finding of "clear and present danger," then I can only say that the danger has never been more clear and its presence has never been more imminent...For we are opposed around the world by a monolithic and ruthless conspiracy that relies primarily on covert means for expanding its sphere of influence–on infiltration instead of invasion, on subversion instead of elections, on intimidation instead of free choice, on guerrillas by night instead of armies by day. It is a system which has conscripted vast human and material resources into the building of a tightly knit, highly efficient machine that combines military, diplomatic, intelligence, economic, scientific and political operations. Its preparations are concealed, not published. Its mistakes are buried, not headlined. Its dissenters are silenced, not praised. No expenditure is questioned, no rumor is printed, no secret is revealed.

The artist is the creator of beautiful things.    To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things.      The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault.

I can not help feeling that it is a mistake to think that the passion one feels in creation is ever really shown in the work one creates. Art is always more abstract than we fancy. Form and color tell us of form and color-that is all. It often seems to me that art conceals the artist more completely than it ever reveals hi m

A man's work reveals him. In social intercourse he gives you the surface that he wishes the world to accept, but in his book or his picture the real man delivers himself defenceless. No affectation of peculiarity can conceal a commonplace mind. No one can produce the most casual work without disclosing the innermost secrets of his soul.

Ian gave a sigh of exaggerated patience and glanced at Bones. "Being related to her through you is a real trial." This time, Bones didn't attempt to conceal his grin. "That's why you can pick your friends but not your family, cousin." An emotion flashed across Ian's face before he covered it with his usual I'm-a-pain-in-the-ass-and-proud-of-it smirk. If it were anyone else, I'd swear it was childlike joy at hearing Bones call him "cousin". Recent events had revealed their long-lost human connection, making Ian both Bones's vampire sire and his only living blood relative. That meant I was never getting rid of him. Then again, considering what my blood relatives had done, Ian was almost a saint by comparison.

If gender attributes and acts, the various ways in which a body shows or produces its cultural signification, are performative, then there is no preexisting identity by which an act or attribute might be measured; there would be no true or false, real or distorted acts of gender, and the postulation of a true gender identity would be revealed as a regulatory fiction.That gender reality is created through sustained social performances means that the very notions of an essential sex and a true or abiding masculinity or femininity are also constituted as part of the strategy that conceals gender’s performative character and the performative possibilities for proliferating gender configurations outside the restricting frames of masculinist domination and compulsory heterosexuality.

One by one, the silence by the bed drew their attention. Even the king was quiet. Exhausted, relieved, he lay boneless and silent. The skin was dragged thin across his cheekbones. His sweaty hair stuck to his face, and his eyes were closed. His hand, clutching the fabric of his tunic, had relaxed and slipped down to his side, revealing what the careful bunching of the cloth had concealed. The tunic had been split by a knife stroke from one side to the other. As the edges of the fabric separated, those by the bed realized how much blood had been soaking, unseen, into the waist of the king’s trousers. The wound wasn’t a simple nick in the king’s side. It began near the navel and slid all the way across his belly. If the wall of the gut had been opened, the king would be dead of infection within days. He should have said something, why hadn’t he? Costis wondered. In fact, the king had. He had complained at every step all the way across the palace, and they’d ignored it. If he’d been stoic and denied the pain, the entire palace would have been in a panic already, and Eddisian soldiers on the move. He’d meant to deceive them, and he’d succeeded. It made Costis wonder for the first time just how much the stoic man really wants to hide when he unsuccessfully pretends not to be in pain.

To me at least, poetry like love- implies a magical approach to life, quite different from the presently accepted rational way of looking at the world. That is, poetry brings out life's little nuances. It delights in forming correspondences between events that seem quite seperate to the intellectually-tuned conciousness alone, and reveals undercurrents of usually -concealed actions that we quite ignore when we're most concerned about thinking rationally. Actually, that kind of vision contains it's own spontaneous rationality, and often supplies us with answers more satisfying than purely intellectual ones-

The door of the jail being flung open, the young woman stood fully revealed before the crowd. It seemed to be her first impulse to clasp the infant closely to her bosom that she might conceal a certain token which was wrought or fastened to her dress. In a moment, however, wisely judging that one token of her shame would but poorly serve to hide another, she took the baby on her arm, and, with a burning blush and yet a haughty smile, looked around at her townspeople and neighbors. On the breast of her gown, in fine red cloth, surrounded with an elaborate embroidery and fantastic flourishes of gold thread, appeared the letter A.

He had always told her that there was only one existence, one science, one religion, that the external world was but a variegated shadow which might either conceal or reveal the truth; and now she believed. He had shewn her that bodily rapture might be the ritual and expression of the ineffable mysteries, of the world beyond sense, that must be entered by the way of sense; and now she believed.

Call me Mac," he said. Mackadocious is more like it. "For the next month, I will be your writing instructor..." Lip Macking Good. "It was Alfred, Lord Tennyson, who said, 'Words, like Nature, half reveal and half conceal the Soul within...'" Big Mac Attack. "Here, in the next five weeks, I hope you do more revealing than concealing..." Oh, I'll reveal more than that if you want me to, Mac Daddy.

The Picture of Dorian Gray by Oscar Wilde THE PREFACE The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things

And then, of course, there was the sari itself. What a garment, Randy! There isn’t another outfit in the world that balances better the twin feminine urges to conceal and reveal. It outlines the woman’s shape but hides the faults a skirt can’t — under a sari a heavy behind, unflattering legs are invisible. But it also reveals the midriff, a part of the anatomy most Western women hide all the time. I was mesmerized, Randy, by the mere fact of being able to see her belly button when she walked, the single fold of flesh above the knot of her sari, the curve of her waist toward her hips. That swell of flesh just above a woman’s hipbone, Randy, is the sexiest part of the female anatomy to me. And I didn’t even have to undress her to see it. I was completely smitten.

The shades of difference between other people and me serve to make variety and prevent monotony, but that is all; broadly speaking, we are all alike; and so by studying myself carefully and comparing myself with other people, and noting the divergences, I have been enabled to acquire a knowledge of the human race which I perceive is more accurate and more comprehensive than that which has been acquired and revealed by any other member of our species. As a result, my private and concealed opinion of myself is not of a complimentary sort. It follows that my estimate of the human race is the duplicate of my estimate of myself.

We turned onto the last landing. Going out with this guy, I thought, would involve a lot of silly laughter, some wit--the buzz of his whispered wisecracks in my ear. But there would be as well his willingness to reveal, or more his inability to conceal, that he had been silently rehearsing my name as he climbed the stairs behind me. There would be his willingness to bestow upon me the power to reassure him. He would trust me with his happiness.

When our elders presented school to use, they did not present it as a place of high learning but as a means of escape from death and personal warehousing. Fully 60 percent of all young black men who drop out of high school will go to jail. This should disgrace the country. But it does not, and while I couldn't crunch the numbers or plumb the history back then, I sensed that the fear marked West Baltimore could not be explained by the schools. Schools did not reveal truths, they concealed them. Perhaps they must be burned away so that the heart of this thing might be known.

Mind you, I cannot swear that my story is true. It may have been a dream; or worse, a symptom of some severe mental disorder. But I believe it is true. After all, how are we to know what things there are on earth? Strange monstrosities still exist, and foul, incredible perversions. Every war, each new geographical or scientific discovery, brings to light some new bit of ghastly evidence that the world is not altogether the same place we fondly imagine it to be. Sometimes peculiar incidents occur which hint of utter madness. How can we be sure that our smug conceptions of reality actually exist? To one man in a million dreadful knowledge is revealed, and the rest of us remain mercifully ignorant. There have been travelers who never came back, and research workers who disappeared. Some of those who did return were deemed mad because of what they told, and others sensibly concealed the wisdom that had so horribly been revealed. Blind as we are, we know a little of what lurks beneath our normal life. There have been tales of sea serpents and creatures of the deep; legends of dwarfs and giants; records of queer medical horrors and unnatural births. Stunted nightmares of men's personalities have blossomed into being under the awful stimulus of war, or pestilence, or famine. There have been cannibals, necrophiles, and ghouls; loathsome rites of worship and sacrifice; maniacal murders, and blasphemous crimes. When I think, then, of what I saw and heard, and compare it with certain other grotesque and unbelievable authenticities, I begin to fear for my reason. ("The Mannikin")

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.

My Dear Lord, please help me. Place me in the Center of Your Perfect Will. Adoro te devote, latens Deitas. Bread of Life by bread concealed, speaking heart to heart. Tibi se cor meum totum subjicit. Let Your presence draw me in here my senses fail. Visus cactus, gustus in te falliti. This is truth enough for me. Peto quod petivit latro paenitens. Seeing You upon the Cross, flesh and blood, I find. Plagas, sicut Thomas, non intueor. I see not but name You still God and Prince of Life. O memoriale mortis Domini. How I thirst to meet Your gaze gloriously revealed. After life's obscurity, let me wake to see. Beauty shining from Your Face for eternity. Amen.

In order to write a memoir, I’ve sat still inside the swirling vortex of my own complicated history like a piece of old driftwood, battered by the sea. I’ve waited—sometimes patiently, sometimes in despair—for the story under pressure of concealment to reveal itself to me. I’ve been doing this work long enough to know that our feelings—that vast range of fear, joy, grief, sorrow, rage, you name it—are incoherent in the immediacy of the moment. It is only with distance that we are able to turn our powers of observation on ourselves, thus fashioning stories in which we are characters

Like everyone, I had,on many previous occasions, ignored a half-open door leading elsewhere - in the chilly passages of strange houses, in backyards, on the outskirts of towns. The frontier of our world is not far away; it doesn't run along the horizon or in the depths. It glimmers faintly close by, in the twilight of our nearest surroundings; out of the corner of our eye we can always glimpse another world, without realizing it. We are walking all the time along a shore and along the edge of a virgin forest. Our gestures would seem to rise out of an entity that also encompasses these concealed spaces, and in an odd way they reveal their shadowy existence, although we are unaware of the roar of waves and shrieks of animals - the disquieting accompaniment to our words (and possibly their secret birthplace); we are unaware of the glittering jewels in the unknown world of nooks and crannies; usually we don't stray off the path even once in our lifetime.

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless. OSCAR WILDE

The reader tries to uncover the skeleton that the book conceals. The author starts with the skeleton and tries to cover it up. His aim is to conceal the skeleton artistically or, in other words, to put flesh on the bare bones. If he is a good writer, he does not bury a puny skeleton under a mass of fat; on the other hand, neither should the flesh be too thin, so that the bones show through. If the flesh is thick enough, and if the flabbiness is avoided, the joints will be detectable and the motion of the parts will reveal the articulation.

A government always finds itself obliged to resort to inflationary measures when it cannot negotiate loans and dare not levy taxes, because it has reason to fear that it will forfeit approval of the policy it is following if it reveals too soon the financial and general economic consequences of that policy. Thus inflation becomes the most important psychological resource of any economic policy whose consequences have to be concealed; and so in this sense it can be called an instrument of unpopular, i.e. of anti-democratic, policy, since by misleading public opinion it makes possible the continued existence of a system of government that would have no hope of the consent of the people if the circumstances were clearly laid before them. That is the political function of inflation. It explains why inflation has always been an important resource of policies of war and revolution and why we also find it in the service of socialism.

Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband's death. It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's name leading the list of "killed." He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message. She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her. There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul. (opening lines)

The very word "secrecy" is repugnant in a free and open society; and we are as a people inherently and historically opposed to secret societies, to secret oaths and to secret proceedings...Our way of life is under attack. Those who make themselves our enemy are advancing around the globe...no war ever posed a greater threat to our security. If you are awaiting a finding of "clear and present danger," then I can only say that the danger has never been more clear and its presence has never been more imminent...For we are opposed around the world by a monolithic and ruthless conspiracy that relies primarily on covert means for expanding its sphere of influence–on infiltration instead of invasion, on subversion instead of elections, on intimidation instead of free choice, on guerrillas by night instead of armies by day. It is a system which has conscripted vast human and material resources into the building of a tightly knit, highly efficient machine that combines military, diplomatic, intelligence, economic, scientific and political operations. Its preparations are concealed, not published. Its mistakes are buried, not headlined. Its dissenters are silenced, not praised. No expenditure is questioned, no rumor is printed, no secret is revealed.

Religion, then, is far from "useless." It humanizes violence; it protects man from his own violence by taking it out of his hands, transforming it into a transcendent and ever-present danger to be kept in check by the appropriate rites appropriately observed and by a modest and prudent demeanor. Religious misinterpretation is a truly constructive force, for it purges man of the suspicions that would poison his existence if he were to remain conscious of the crisis as it actually took place. To think religiously is to envision the city's destiny in terms of that violence whose mastery over man increases as man believes he has gained mastery over it. To think religiously (in the primitive sense) is to see violence as something superhuman, to be kept always at a distance and ultimately renounced. When the fearful adoration of this power begins to diminish and all distinctions begin to disappear, the ritual sacrifices lose their force; their potency is not longer recognized by the entire community. Each member tries to correct the situation individually, and none succeeds. The withering away of the transcendental influence means that there is no longer the slightest difference between a desire to save the city and unbridled ambition, between genuine piety and the desire to claim divine status for oneself. Everyone looks on a rival enterprise as evidence of blasphemous designs. Men set to quarreling about the gods, and their skepticism leads to a new sacrificial crisis that will appear - retrospectively, in the light of a new manifestation of unanimous violence - as a new act of divine intervention and divine revenge. Men would not be able to shake loose the violence between them, to make of it a separate entity both sovereign and redemptory, without the surrogate victim. Also, violence itself offers a sort of respite, the fresh beginning of a cycle of ritual after a cycle of violence. Violence will come to an end only after it has had the last word and that word has been accepted as divine. The meaning of this word must remain hidden, the mechanism of unanimity remain concealed. For religion protects man as long as its ultimate foundations are not revealed. To drive the monster from its secret lair is to risk loosing it on mankind. To remove men's ignorance is only to risk exposing them to an even greater peril. The only barrier against human violence is raised on misconception. In fact, the sacrificial crisis is simply another form of that knowledge which grows grater as the reciprocal violence grows more intense but which never leads to the whole truth. It is the knowledge of violence, along with the violence itself, that the act of expulsion succeeds in shunting outside the realm of consciousness. From the very fact that it belies the overt mythological messages, tragic drama opens a vast abyss before the poet; but he always draws back at the last moment. He is exposed to a form of hubris more dangerous than any contracted by his characters; it has to do with a truth that is felt to be infinitely destructive, even if it is not fully understood - and its destructiveness is as obvious to ancient religious thought as it is to modern philosophers. Thus we are dealing with an interdiction that still applies to ourselves and that modern thought has not yet invalidated. The fact that this secret has been subjected to exceptional pressure in the play [Bacchae] must prompt the following lines: May our thoughts never aspire to anything higher than laws! What does it cost man to acknowledge the full sovereignty of the gods? That which has always been held as true owes its strength to Nature.

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

[THE DAILY BREATH] When Jesus walked the Earth, He said again and again: "Repent, for the Kingdom of Heaven is at hand." For many years I misunderstood this message. The line: "Repent, for the Kingdom of Heaven is near" brought fear because to me it meant: "Repent or else you go to hell." But this is not what it means. Read the words again: "Repent" which means ask God for forgiveness, "because the kingdom of Heaven is at hand" which means peace is close to you. Ask for forgiveness because when you do so in all honesty, you bring Heaven in your life. When you open your heart and ask for forgiveness in all truth, you find Heaven: the healing you need, the love you deserve, the peace you want: all of these wait for you on the other side of you having a heart-to-heart, truthful relationship with Jesus. God's love for you is unconditional, but communication is possible only in truth. Turn your eyes from your pain, and look unto Jesus. Literally, focus your eyes on Him. Walk through the terror barrier that prevents you from opening your heart, and tell Him everything. Ask for forgiveness for everything you think you've done wrong, ask for help with your weaknesses - not from your mind or from your emotions, but from your spirit - and hide nothing because what you keep hidden will torment you until you bring it out to light. Carl Jung, the renowned psychiatrist said, "The most terrifying thing is to accept oneself completely." Do not be afraid. Tell God everything you fear to acknowledge, because He cannot heal what you conceal, and he will heal everything you reveal.

I consider it an error in scientific communication that, most of the time, merely the polished and flawless results of natural research are displayed, as in an art show. And exhibit of the finished product alone has many drawbacks and dangers for both its creator and its users. The creator of the product will be only too ready to demonstrate perfection and flawlessness while concealing gaps, uncertainties and discordant contradictions of his insight into nature. He thus belittles the meaning of the real process of natural research. The user of the product will not appreciate the rigorous demands made on the natural scientist when the latter has to reveal and describe the secrets of nature in a practical way. He will never learn to think for himself and to cope by himself. Very few drivers have an accurate idea of the sum of human efforts, of the complicated thought processes and operations needed for manufacturing an automobile. Our world would be better off is the beneficiaries of work knew more about the process of work and the existence of the workers, if they did not pluck so thoughtlessly the fruits of labor performed by others.

When summer and winter in autumn divide The sun will uncover a secret inside. Should winter from summer irrevocably part The whole of the book will fall quickly apart. Yet if the seasons join hands together The order of things will last forever. These are the words of Endymion spring. Bring only the insight the Inside brings. The child may see what the man does not A future time which time forgot: Books yet to be and books already written Within these pages lie dormant and hidden. Yet darkness seeks what light reveals A shadow grows: these truths conceal. These are my words, Endymion spring. Bring only the insight the Inside brings. The silence will end-the sum approaches Mark my word-the shadow encroaches. The present had passed-the past has gone The future will come-once Two become One. The sun must look the shadow in the eye Then forfeit the book lest one half die. The lesion of darkness cannot be healed Until, with Child's Blood, the whole is sealed. These are the words of Endymion spring. Bring only the insight the Inside brings.

Community, a place of healing and growth . . . The wound in all of us, and which we are all trying to flee, can become the place of meeting with God and with brothers and sisters; it can become the place of ecstasy and of the eternal wedding feast. The loneliness and feelings of inferiority which we are running away from become the place of liberation and salvation. There is always warfare in our hearts; there is always a struggle between pride and humility, hatred and love, forgiveness and the refusal to forgive, truth and the concealment of truth, openness and closedness. Each one of us is walking in that passage towards liberation, growing on the journey towards wholeness and healing. . . . We must not fear this vulnerable heart, with its closeness to sexuality and its capacity to hate and be jealous. We must not run from it into power and knowledge, seeking self-glory and independence. Instead, we must let God take his place there, purify it and enlighten it. As the stone is gradually removed from our inner tomb and the dirt is revealed, we discover that we are loved and forgiven; then under the power of love and of the Spirit, the tomb becomes a womb. A miracle seems to happen. . . . It is a liberation as the child in us is reborn and the selfish adult dies. Jesus said that if we do not change and become like little children, we cannot enter into the Kingdom. The revelation of love is for children, and not for wise and clever people.

In the last week of April 2004, a handful of the Abu Ghraib photographs were broadcast on 60 minutes and published in The New Yorker, and within a couple of days they had been rebroadcast and republished pretty much everywhere on earth. Overnight, the human pyramid, the hooded man on the box, the young woman soldier with a prisoner on a leash, and the corpse packed in ice had become the defining images of the Iraq war...Never before had such primal dungeon scenes been so baldly captured on camera...But above all, it was the posing soldiers, mugging for their buddies' cameras while dominating the prisoners in trophy stances, that gave the photographs the sense of unruly and unmediated reality. The staging was part of the reality they documented. And the grins, the thumbs-up, the arms crossed over puffed-out chests—all this unseemly swagger and self-regard was the height of amateurism. These soldier-photographers stood, at once, inside and outside the events they recorded, watching themselves take part in the spectacle, and their decision not to conceal but to reveal what they were doing indicated that they were not just amateur photographers, but amateur torturers. So the amateurism was not merely a formal dimension of the Abu Ghraib pictures. It was part of their content, part of what we saw in them, and it corresponded to an aspect of the Iraq War that troubled and baffled nearly everyone: the reckless and slapdash ineptitude with which it had been prosecuted. It was an amateur-run war, a murky and incoherent war. It was not clear why it was waged; too many reasons were given, none had held up, and the stories we invented to explain it to ourselves hardly seemed to matter, since once it was started the war had become its own engine—not a means to an end but an end in itself. What had been billed as a war of ideas and ideals had been exposed as a war of poses and posturing.

He snatched at the kerchief, managing to loosen it. "Please. It's all I want from life, to see you with-" another swipe, and he snagged the edge of the cloth, "-your hair all-" But Leo broke off as the kerchief pulled free, and the hair that spilled out was not any conceivable shade of green. It was blond... pale amber and champagne and honey... and there was so much of it, cascading in shimmering waves to the middle of her back. Leo went still, holding her in place as his astonished gaze raked over her. They both gulped for breath, worked up and winded like racehorses. Marks couldn't have looked more appalled if he had just stripped her naked. And the truth was, Leo couldn't have been any more confounded- or aroused- if he were actually viewing her naked. Though he certainly would have been willing to try it. Such a commotion had risen in him, Leo hardly knew how to react. Just hair, just locks of hair... but it was like a previously undistinguished painting in the perfect frame, revealing its beauty in full luminous detail. Catherine Marks in the sunlight was a mythical creature, a nymph, with delicate features and opalescent eyes. The most confounding realization was that it wasn't really hair color that had concealed all this from him... he had never noticed how stunning she was because she had deliberately kept him from seeing it. "Why," Leo asked, his voice husky, "would you conceal something so beautiful?" Staring at her, nearly devouring her, he asked more softly still, "What are you hiding from?

So sentences are copied, constructed, or created; they are uttered, mentioned, or used; each says, means, implies, reveals, connects; each titillates, invites, conceals, suggests; and each is eventually either consumed or conserved; nevertheless, the lines in Stevens or the sentences of Joyce and James, pressed by one another into being as though the words before and the words after were those reverent hands both Rilke and Rodin have celebrated, clay calling to clay like mating birds, concept responding to concept the way passionate flesh congests, every note a nipple on the breast, at once a triumphant pinnacle and perfect conclusion, like pelted water, I think I said, yet at the same time only another anonymous cell, and selfless in its service to the shaping skin as lost forgotten matter is in all walls; these lines, these sentences, are not quite uttered, not quite mentioned, peculiarly employed, strangely listed, oddly used, as though a shadow were the leaves, limbs, trunk of a new tree, and the shade itself were thrust like a dark torch into the grassy air in the same slow and forceful way as its own roots, entering the earth, roughen the darkness there till all its freshly shattered facets shine against themselves as teeth do in the clenched jaw; for Rabelais was wrong, blue is the color of the mind in borrow of the body; it is the color consciousness becomes when caressed; it is the dark inside of sentences, sentences which follow their own turnings inward out of sight like the whorls of a shell, and which we follow warily, as Alice after that rabbit, nervous and white, till suddenly—there! climbing down clauses and passing through ‘and’ as it opens—there—there—we’re here! . . . in time for tea and tantrums; such are the sentences we should like to love—the ones which love us and themselves as well—incestuous sentences—sentences which make an imaginary speaker speak the imagination loudly to the reading eye; that have a kind of orality transmogrified: not the tongue touching the genital tip, but the idea of the tongue, the thought of the tongue, word-wet to part-wet, public mouth to private, seed to speech, and speech . . . ah! after exclamations, groans, with order gone, disorder on the way, we subside through sentences like these, the risk of senselessness like this, to float like leaves on the restful surface of that world of words to come, and there, in peace, patiently to dream of the sensuous, imagined, and mindful Sublime.

The artist is the creator of beautiful things. To reveal art and conceal the artist is art’s aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only Beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of Realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an im- perfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an un- pardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor’s craft is the Type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really Mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.