Suitable Flesh Quotes

God might have given Adam another man to be his friend, to walk and talk and argue with if that was his pleasure. But Adam needed more than the companionship of the animals or the friendship of a man. He needed a helper, specially designed and prepared to fill that role. It was a woman God gave him, a woman, “meet,” fit, suitable, entirely appropriate for him, made of his very bones and flesh.

Siddhartha gave his garments to a poor Brahman in the street. He wore nothing more than the loincloth and the earth-coloured, unsown cloak. He ate only once a day, and never something cooked. He fasted for fifteen days. He fasted for twenty-eight days. The flesh waned from his thighs and cheeks. Feverish dreams flickered from his enlarged eyes, long nails grew slowly on his parched fingers and a dry, shaggy beard grew on his chin. His glance turned to icy when he encountered women; his mouth twitched with contempt, when he walked through a city of nicely dressed people. He saw merchants trading, princes hunting, mourners wailing for their dead, whores offering themselves, physicians trying to help the sick, priests determining the most suitable day for seeding, lovers loving, mothers nursing their children--and all of this was not worthy of one look from his eye, it all lied, it all stank, it all stank of lies, it all pretended to be meaningful and joyful and beautiful, and it all was just concealed putrefaction. The world tasted bitter. Life was torture. A goal stood before Siddhartha, a single goal: to become empty, empty of thirst, empty of wishing, empty of dreams, empty of joy and sorrow. Dead to himself, not to be a self any more, to find tranquility with an emptied heard, to be open to miracles in unselfish thoughts, that was his goal. Once all of my self was overcome and had died, once every desire and every urge was silent in the heart, then the ultimate part of me had to awake, the innermost of my being, which is no longer my self, the great secret.

people will frame a divinity to themselves, pleasing to the flesh suitable to their own ends, which, being vain in the substance, will prove likewise vain in the fruit, and as a building upon the sand.

But for Adam no suitable helper was found. So the Lord God caused the man to fall into a deep sleep by holding a chloroform-soaked hankie to his face; and while he was sleeping, he took one of the man’s ribs and then closed up the place with flesh.

Specifically, I cherished a romantic impulse towards death, yet at the same time I required a strictly classical body as its vehicle; a peculiar sense of destiny made me believe that the reason why my romantic impulse towards death remained unfulfilled in reality was the immensely simple fact that I lacked the necessary physical qualifications. A powerful, tragic frame and sculpturesque muscles were indispensable in a romantically noble death. Any confrontation between weak, flabby flesh and death seemed to me absurdly inappropriate. Longing at eighteen for an early demise, I felt myself unfitted for it. I lacked, in short, the muscles suitable for a dramatic death. And it deeply offended my romantic pride that it should be this unsuitability that had permitted me to survive the war.

Dionysius the Areopagite points out that God—as the creative source of form and matter—does not exist. God is not an existing being amongst other existing beings. Hence, pure existence and pure matter do not exist, as both arise from, and are dependent upon, God. What exists is the actualized combination of timeless intellective forms partially, particularly, and uniquely expressed within space, time, matter, and energy. The mystery of the incarnation, then, is that God embodies Godself as a particular man in space and time, becoming a being amongst beings. St. John is suitably staggered that the very Reason (Logos) that gives rise to both form and matter in the material cosmos, would become concrete and particular flesh. This is truly the stunning mystery at the heart of Christianity.

There is no such thing as a computational person, whose mind is like computer software, able to work on any suitable computer or neural hardware whose mind somehow derives meaning from taking meaningless symbols as input, manipulating them by rule, and giving meaningless symbols as output. Real people have embodied minds whose conceptual systems arise from, are shaped by, and are given meaning through living human bodies. The neural structures of our brains produce conceptual systems and linguistic structures that cannot be adequately accounted for by formal systems that only manipulate symbols.

I AM PUSHING a rusty wheelbarrow in a town where the air smells of blood and burnt flesh. The breeze brings the faint cries of those whose last breaths are leaving their mangled bodies. I walk past them. Their arms and legs are missing; their intestines spill out through the bullet holes in their stomachs; brain matter comes out of their noses and ears. The flies are so excited and intoxicated that they fall on the pools of blood and die. The eyes of the nearly dead are redder than the blood that comes out of them, and it seems that their bones will tear through the skin of their taut faces at any minute. I turn my face to the ground to look at my feet. My tattered crapes are soaked with blood, which seems to be running down my army shorts. I feel no physical pain, so I am not sure whether I’ve been wounded. I can feel the warmth of my AK-47’s barrel on my back; I don’t remember when I last fired it. It feels as if needles have been hammered into my brain, and it is hard to be sure whether it is day or night. The wheelbarrow in front of me contains a dead body wrapped in white bedsheets. I do not know why I am taking this particular body to the cemetery. When I arrive at the cemetery, I struggle to lift it from the wheelbarrow; it feels as if the body is resisting. I carry it in my arms, looking for a suitable place to lay it to rest. My body begins to ache and I can’t lift a foot without feeling a rush of pain from my toes to my spine. I collapse on the ground and hold the body in my arms. Blood spots begin to emerge on the white bedsheets covering it. Setting the body on the ground, I start to unwrap it, beginning at the feet. All the way up to the neck, there are bullet holes. One bullet has crushed the Adam’s apple and sent the remains of it to the back of the throat. I lift the cloth from the body’s face. I am looking at my own.   I

One day, at a quiet hour, I found myself alone in a certain gallery, wherein one particular picture of pretentious size set up in the best light, having a cordon of protection stretched before it, and a cushioned bench duly set in front for the accommodation of worshipping connoisseurs, who, having gazed themselves off their feet, might be fain to complete the business sitting. This picture, I say, seemed to consider itself the queen of the collection. It represented a woman, considerably larger, I thought, than the life. I calculated that this lady, put into a scale of magnitude suitable for the reception of a commodity of bulk, would infallibly turn from fourteen to sixteen stone. She was indeed extremely well fed, very much butcher's meat, to say nothing of bread, vegetables, and liquids must she have consumed to attain that breadth and height, that wealth of muscle, that affluence of flesh. She lay half reclined on a couch – why, it would be difficult to say. Broad daylight blazed round her. She appeared in hearty health, strong enough to do the work of two plain cooks. She could not plead a weak spine. She ought to have been standing, or at least sitting bolt upright. She had no business to lounge away the noon on a sofa. She ought likewise to have worn decent garments – a gown covering her properly, which was not the case. Out of abundance of material, seven and twenty yards I should say, of drapery, she managed to make inefficient raiment. Then, for the wretched untidiness surrounding her, there could be no excuse. Pots and pans – or perhaps I ought to say, vases and goblets – were rolled here and there on the foreground, a perfect rubbish of flowers was mixed amongst them, and an absurd and disorderly mass of curtain upholstery smothered the couch and cumbered the floor. On referring to the catalog, I found that this this notable production bore name: 'Cleopatra.

and “does not contain” put the manuscripts on stage without a script. This same dilemma appeared when I attempted to discuss the different readings in my manuscript family. Since I could not rely upon the vocabulary of literary criticism to discuss them, I found myself with a wealth of information that could not be fitted into a legible critical narrative. I would either have to abandon the project, or create a suitable vocabulary and analytical model. The first solution was unthinkable. In two manuscripts of this family, Britain is founded by women who rebel against patriarchal authority in a particularly graphic manner. In others, Guinevere

For half a moment, I toyed with the idea of telling her that Patrick was not sneaking into anything except possibly decomposition. And in a rational world, why wouldn’t I? What reasonable person could object to the removal of a brutal killer who did appalling things to human beings and liked doing them? But on sober reflection, it occurred to me that if I told her, Jackie might realize that this was an apt description for me, too, so it might not be a good idea to tell her. And after all, rotting flesh was hardly a suitable topic of conversation for the breakfast table. So I settled for more pedestrian reassurance. “There’s a chain on the door,” I said. “And a heavily armed and deadly Dexter on the couch.

A peregrine weighs between 1½ and 2½ lbs.; such a weight, falling from a hundred feet, will kill all but the largest birds. Shelduck, pheasants, or great black-backed gulls usually succumb to a stoop of five hundred feet or more. Sometimes the prey is seized and then released, so that it tumbles to the ground, stunned but still alive; or it may be clutched and carried off to a suitable feeding place. The hawk breaks its neck with his bill, either while he is carrying it or immediately he alights. No flesh-eating creature is more efficient, or more merciful, than the peregrine. It is not deliberately merciful; it simply does what it was designed to do.

To be is to have mortal shape, mortal conditions, to struggle, to evolve. Paradise is, like the dream of the Buddhists, a Nirvana where there is no more personality and hence no conflict. It is the expression of man's wish to triumph over reality, over becoming. The artist's dream of the impossible, the miraculous, is simply the resultant of his inability to adapt himself to reality. He creates, therefore, a reality of his own — in the poem — a reality which is suitable to him, a reality in which he can life out his unconscious desires, wishes, dreams. The poem is the dream made flesh, in a two-fold sense: as work of art, and as life, which is a work of art. When man becomes fully conscious of his powers, his role, his destiny, he is an artist and he ceases his struggle with reality. He becomes a traitor to the human race. He creates war because he has become permanently out of step with the rest of humanity. He sits on the door-step of his mother's womb with his race memories and his incestuous longings and he refuses to budge. He lives out his dream of Paradise. He transmutes his real experience of life into spiritual equations.

To be is to have mortal shape, mortal conditions, to struggle, to evolve. Paradise is, like the dream of the Buddhists, a Nirvana where there is no more personality and hence no conflict. It is the expression of man's wish to triumph over reality, over becoming. The artist's dream of the impossible, the miraculous, is simply the resultant of his inability to adapt himself to reality. He creates, therefore, a reality of his own — in the poem — a reality which is suitable to him, a reality in which he can live out his unconscious desires, wishes, dreams. The poem is the dream made flesh, in a two-fold sense: as work of art, and as life, which is a work of art. When man becomes fully conscious of his powers, his role, his destiny, he is an artist and he ceases his struggle with reality. He becomes a traitor to the human race. He creates war because he has become permanently out of step with the rest of humanity. He sits on the door-step of his mother's womb with his race memories and his incestuous longings and he refuses to budge. He lives out his dream of Paradise. He transmutes his real experience of life into spiritual equations.