Translators Life Quotes

Almost seventy years later I remember clearly how the magic of translating the words in books into images enriched my life, breaking the barriers of time and space...

There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all time, this expression is unique. And if you block it, it will never exist through any other medium and will be lost.

Some might think that the creativity, imagination, and flights of fancy that give my life meaning are insanity.

I want to write because I have the urge to excel in one medium of translation and expression of life. I can't be satisfied with the colossal job of merely living. Oh, no, I must order life in sonnets and sestinas and provide a verbal reflector for my 60-watt lighted head.

The flower bloomed and faded. The sun rose and sank. The lover loved and went. And what the poets said in rhyme, the young translated into practice.

There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. ... No artist is pleased. [There is] no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others

A written word is the choicest of relics. It is something at once more intimate with us and more universal than any other work of art. It is the work of art nearest to life itself. It may be translated into every language, and not only be read but actually breathed from all human lips; -- not be represented on canvas or in marble only, but be carved out of the breath of life itself.

I’ve wanted so many things in life,” he says softly, “but you’re the one that has meant the most to me.” Translation: I love you.

Parla come magni,' It means, 'Speak the way you eat,' or in my personal translation: 'Say it like you eat it.' It's a reminder - when you're making a big deal out of explaining something, when you're searching for the right words - to keep your language as simple and direct as Roman rood. Don't make a big production out of it. Just lay it on the table.

Men of Athens, I honor and love you; but I shall obey God rather than you, and while I have life and strength I shall never cease from the practice and teaching of philosophy... Understand that I shall never alter my ways, not even if I have to die many times.

If the dream is a translation of waking life, waking life is also a translation of the dream.

There's an old adage," he said, "translated from the ancient Coptic, that contains all the wisdom of the ages -- "Life is life and fun is fun, but it's all so quiet when the goldfish die.

All incidents which we experience are warily interpreted and translated in the dark chamber of our mind. They inspire us how to behave, how to think, how to act and prompt our predilections and our way of visualizing the world. The mind opens itself then to welcome the enchantments of life or to tear up destructive thinking patterns. The brain becomes truly a precious resilient partner. ( "Camera obscura of the mind" )

Laughing at the universe liberated my life. I escape its weight by laughing. I refuse any intellectual translations of this laughter, since my slavery would commrnce from that point on.

And now, the end is near, And so I face the final curtain. My friend, I'll say it clear, I'll state my case, of which I'm certain. I've lived a life that's full. I've traveled each and every highway; And more, much more than this, I did it my way.

There is a vitality, a life force, a quickening that is translated through you into action, and there is only one of you in all time, this expression is unique, and if you block it, it will never exist through any other medium; and be lost. The world will not have it. It is not your business to determine how good it is, not how it compares with other expression. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep open and aware directly to the urges that motivate you. Keep the channel open. No artist is pleased. There is no satisfaction whatever at any time. There is only a queer, divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.

The test is not a complex one: when the alarm goes off, do you get up out of bed, or do you lie there in comfort and fall back to sleep? If you have the discipline to get out of bed, you win—you pass the test. If you are mentally weak for that moment and you let that weakness keep you in bed, you fail. Though it seems small, that weakness translates to more significant decisions. But if you exercise discipline, that too translates to more substantial elements of your life.

...unfortunately, it's true: time does heal. It will do so whether you like it or not, and there's nothing anyone can do about it. If you're not careful, time will take away everything that ever hurt you, everything you have ever lost, and replace it with knowledge. Time is a machine: it will convert your pain into experience. Raw data will be compiled, will be translated into a more comprehensible language. The individual events of your life will be transmuted into another substance called memory and in the mechanism something will be lost and you will never be able to reverse it, you will never again have the original moment back in its uncategorized, preprocessed state. It will force you to move on and you will not have a choice in the matter.

There is something sad about people going to bed. You can see they don’t give a damn whether they’re getting what they want out of life or not, you can see they don’t ever try to understand what we’re here for. They just don’t care. Americans or not, they sleep no matter what, they’re bloated mollusks, no sensibility, no trouble with their conscience. I’d seen too many troubling things to be easy in my mind. I knew too much and not enough. I’d better go out, I said to myself, I’d better go out again. Maybe I’ll meet Robinson. Naturally that was an idiotic idea, but I dreamed it up as an excuse for going out again, because no matter how I tossed and turned on my narrow bed, I couldn’t snatch the tiniest scrap of sleep. Even masturbation, at times like that, provides neither comfort nor entertainment. Then you're really in despair.

Whoever prefers the material comforts of life over intellectual wealth is like the owner of a palace who moves into the servants’ quarters and leaves the sumptuous rooms empty.

Don't pursue happiness! Life is as short as a sigh. The dust of people that were once famous turn with the reddish clay on the wheel you are looking at. The universe is a fata morgana; life is a dream.

It may, after all, be the bad habit of creative talents to invest themselves in pathological extremes that yield remarkable insights but no durable way of life for those who cannot translate their psychic wounds into significant art or thought.

...I want first of all - in fact, as an end to these other desires - to be at peace with myself. I want a singleness of eye, a purity of intention, a central cor to my life that will enable me to carry out these obligations and activities as well as I can. I want, in fact - to borrow from the language of the saints -to live 'in grace' as much of the time as possible. I am not using this term in a strictly theological sense. By grace I mean an inner harmony, essentially spiritual, which can be translated into outward harmony...

The happy life is this - to rejoice to thee, in thee, and for thee.

BE RUTHLESS TO THE THINGS THAT DON’T MATTER “How many have laid waste to your life when you weren’t aware of what you were losing, how much was wasted in pointless grief, foolish joy, greedy desire, and social amusements—how little of your own was left to you. You will realize you are dying before your time!” —SENECA, ON THE BREVITY OF LIFE, 3.3b

Christianity was not meant to be a weapon or an argument or a show of force or a political tool. Or an act of aggression or coercion. It was never meant to be a cause or a prop for a cause. Or something to pacify and make thousands go to bed happy and unthinking. It was meant to be a challenge, yes, but that challenge to a second life was meant to be laced with kindness. If someone forces you to choose between God is holy and God is love choose God is love because holiness without love translates into tyranny.

I realize that some people will not believe that a child of little more than ten years is capable of having such feelings. My story is not intended for them. I am telling it to those who have a better knowledge of man. The adult who has learned to translate a part of his feelings into thoughts notices the absence of these thoughts in a child, and therefore comes to believe that the child lacks these experiences, too. Yet rarely in my life have I felt and suffered as deeply as at that time.

Productiveness is your acceptance of morality, your recognition of the fact that you choose to live--that productive work is the process by which man's consciousness controls his existence, a constant process of acquiring knowledge and shaping matter to fit one's purpose, of translating an idea into physical form, of remaking the earth in the image of one's values--that all work is creative work if done by a thinking mind, and no work is creative if done by a blank who repeats in uncritical stupor a routine he has learned from others--that your work is yours to choose, and the choice is as wide as your mind, that nothing more is possible to you and nothing less is human--that to cheat your way into a job bigger than your mind can handle is to become a fear-corroded ape on borrowed motions and borrowed time, and to settle down into a job that requires less than your mind's full capacity is to cut your motor and sentence yourself to another kind of motion: decay--that your work is the process of achieving your values, and to lose your ambition for values is to lose your ambition to live--that your body is a machine, but your mind is its driver, and you must drive as far as your mind will take you, with achievement as the goal of your road--that the man who has no purpose is a machine that coasts downhill at the mercy of any boulder to crash in the first chance ditch, that the man who stifles his mind is a stalled machine slowly going to rust, that the man who lets a leader prescribe his course is a wreck being towed to the scrap heap, and the man who makes another man his goal is a hitchhiker no driver should ever pick up--that your work is the purpose of your life, and you must speed past any killer who assumes the right to stop you, that any value you might find outside your work, any other loyalty or love, can be only travelers you choose to share your journey and must be travelers going on their own power in the same direction.

When I come to be united to thee with all my being, then there will be no more pain and toil for me, and my life shall be a real life, being wholly filled by thee.

After us they'll fly in hot air balloons, coat styles will change, perhaps they'll discover a sixth sense and cultivate it, but life will remain the same, a hard life full of secrets, but happy. And a thousand years from now man will still be sighing, "Oh! Life is so hard!" and will still, like now, be afraid of death and not want to die.

For Sayonara, literally translated, 'Since it must be so,' of all the good-bys I have heard is the most beautiful. Unlike the Auf Wiedershens and Au revoirs, it does not try to cheat itself by any bravado 'Till we meet again,' any sedative to postpone the pain of separation. It does not evade the issue like the sturdy blinking Farewell. Farewell is a father's good-by. It is - 'Go out in the world and do well, my son.' It is encouragement and admonition. It is hope and faith. But it passes over the significance of the moment; of parting it says nothing. It hides its emotion. It says too little. While Good-by ('God be with you') and Adios say too much. They try to bridge the distance, almost to deny it. Good-by is a prayer, a ringing cry. 'You must not go - I cannot bear to have you go! But you shall not go alone, unwatched. God will be with you. God's hand will over you' and even - underneath, hidden, but it is there, incorrigible - 'I will be with you; I will watch you - always.' It is a mother's good-by. But Sayonara says neither too much nor too little. It is a simple acceptance of fact. All understanding of life lies in its limits. All emotion, smoldering, is banked up behind it. But it says nothing. It is really the unspoken good-by, the pressure of a hand, 'Sayonara.

It does,” he admits, before nodding at her attire. “And yet,” he says with an impish grin, “you strike me as someone not easily restrained. Aut viam invenium aut faciam, and so on.” She does not know Latin yet, and he does not offer a translation, but a decade from now, she will look up the words, and learn their meaning. To find a way, or make your own.

Sometimes plans don't translate smoothly from paper to real life.

Reading a poem in translation," wrote Bialek, "is like kissing a woman through a veil"; and reading Greek poems, with a mixture of katharevousa and the demotic, is like kissing two women. Translation is a kind of transubstantiation; one poem becomes another. You choose your philosophy of translation just as you choose how to live: the free adaptation that sacrifices detail to meaning, the strict crib that sacrifices meaning to exactitude. The poet moves from life to language, the translator moves from language to life; both like the immigrant, try to identify the invisible, what's between the lines, the mysterious implications.

Then what is good? The obsessive interest in human affairs, plus a certain amount of compassion and moral conviction, that first made the experience of living something that must be translated into pigment or music or bodily movement or poetry or prose or anything that's dynamic and expressivee--that's what's good for you if you're at all serious in your aims. William Saroyan wrote a great play on this theme, that purity of heart is the one success worth having. "In the time of your life--live!" That time is short and it doesn't return again. It is slipping away while I write this and while you read it, the monosyllable of the clock is Loss, loss, loss, unless you devote your heart to its opposition.

I am unable to make any distinction between the feeling I get from life and the way I translate that feeling into painting.

The deeper we grow in the Spirit of Jesus Christ, the poorer we become - the more we realize that everything in life is a gift. The tenor of our lives becomes one of humble and joyful thanksgiving. Awareness of our poverty and ineptitude causes us to rejoice in the gift of being called out of darkness into wondrous light and translated into the kingdom of God's beloved Son.

I’m really tired of people saying what is lost in translation. Look at what you gain. You gain three universes worth of books. It’s worth it to lose something in translation, if you can get a hundred more texts that are going to change your life.

I want first of all... to be at peace with myself. I want a singleness of eye, a purity of intention, a central core to my life that will enable me to carry out these obligations and activities as well as I can. I want, in fact--to borrow from the language of the saints--to live "in grace" as much of the time as possible. I am not using this term in a strictly theological sense. By grace I mean an inner harmony, essentially spiritual, which can be translated into outward harmony. I am seeking perhaps what Socrates asked for in the prayer from the Phaedrus when he said, "May the outward and inward man be one." I would like to achieve a state of inner spiritual grace from which I could function and give as I was meant to in the eye of God.

Laughing at the universe liberated my life. I escape its weight by laughing. I refuse any intellectual translations of this laughter, since my slavery would commence from that point on.

Said the man to the sun, “How I wish you could shine your light on every day of my life!” Said the sun to the man, “But only with the rain and the night could you recognize my light.” —Domaccan poem, translated by Chevalle

In my life are many windows and many graves. Sometimes they exchange roles: then a window is closed forever, then by way of a gravestone I can see very far. (Hebrew-to-English translation by Rabbi Steven Sager)

The most painful thing in life is losing yourself in the process of valuing someone too much and forgetting that you are special too

Music does not need language of words for it has movements of dance to do its translation.

If you love life you also love the past, because it is the present as it has survived in memory." Translation by David Downie

Life is a series of events and sensations. Everything else is interpretation. Much is lost in translation and added in assumption / projection

The most barbarous and the most fantastic rites and the strangest myths translate some human need, some aspect of life, either individual or social.

I want to write because I have the urge to excel in one medium of translation and expression of life. I can't be satisfied with the colossal job of merely living. Oh, no, I must order life in sonnets and sestinas and provide a verbal reflector for my 60-watt lighted head. Love is an illusion, but I would willingly fall for it if I could believe in it. Now everything seems either far and sad and cold, like a piece of shale at the bottom of a canyon - or warm and near and unthinking, like the pink dogwood.

Life is a " vale of tears" a period of trial and suffering, an unpleasant but necessary preparation for the afterlife where alone man could expect to enjoy happiness - Archibald T. MacAllister (The Inferno; Dante Alighieri translated by John Ciardi)

Hell hath no fury like a woman scorned. Translation: Bitches be crazy, so don’t fuck with them.

Why do you want a new truth when you do not practice what you already know? Far better to read a few books and make them your own than to read many books quickly and superficially.

So it's back once more, back up the slope. Why do they always ruin my rope with their cuts? I felt so ready the other day, Had a real foretaste of eternity In my guts. Spoonfeeding me yet another sip from life's cup. I don't want it, won't take any more of it. Let me throw up. Life is medium rare and good, I see, And the world full of soup and bread, But it won't pass into the blood for me, Just goes to my head. It makes me ill, though others it feeds; Do see that I must deny it! For a thousand years from now at least I'm keeping a diet.

So here is that line from the American Declaration of Independence translated into biological terms: We hold these truths to be self-evident, that all men evolved differently, that they are born with certain mutable characteristics, and that among these are life and the pursuit of pleasure.

Philosophy does not promise to secure anything external for man, otherwise it would be admitting something that lies beyond its proper subject-matter. For as the material of the carpenter is wood, and that of statuary bronze, so the subject-matter of the art of living is each person's own life.

The Self says ‘I AM’–as in the very grand sayings of Christ, especially in the Gospel of John, in which he says in the state of onenenss with Yahweh (which in Hebrew means ‘I AM’), I AM is the way and the truth and the life–but the ego says ‘I am this’ or ‘I am that,’ thus attaching itself only to a small portion of the Vastness. (62)

Adventure comes with no guarantees or promises. Risk and reward are conjoined twins—and that’s why my favorite piece of advice needs translation but no disclaimers: Fortes fortuna juvat. ‘Fortune favors the brave,’ the ancient Roman dramatist Terrence declared. In other words, there are many good reasons not to toss your life up in the air and see how it lands. Just don’t let fear be one of them.

Ghorbanat beram is one of those perfect Farsi phrases you can’t quite translate into English. The closest thing is: I would give my life for yours. Sometimes it was just hyperbole. But for Sohrab, it was literal. And it was literal for me too. That is what it means to have a best friend.

Forgiveness. The ability to forgive oneself. Stop here for a few breaths and think about this because it is the key to making art, and very possibly the key to finding any semblance of happiness in life. Every time I have set out to translate the book (or story, or hopelessly long essay) that exists in such brilliant detail on the big screen of my limbic system onto a piece of paper (which, let’s face it, was once a towering tree crowned with leaves and a home to birds). I grieve for my own lack of talent and intelligence. Every. Single. Time. Were I smarter, more gifted, I could pin down a closer facsimile of the wonders I see. I believe, more than anything, that this grief of constantly having to face down our own inadequacies is what keeps people from being writers. Forgiveness, therefore, is key. I can’t write the book I want to write, but I can and will write the book I am capable of writing. Again and again throughout the course of my life I will forgive myself.

I tried hard to forget, but there remained inside me a vague knot of air. And as time went by, the knot began to take on a clear and simple form, a form that I am able to put into words, like this: Death exists, not as the opposite but as a part of life. It's a cliché translated into words, but at the time I felt it not as words but as that knot of air inside me. Death exists - in a paperweight, in four red and white balls on a pool table - and we go on living and breathing it into our lungs like fine dust.

A formidable life-giving force that can be misused for destruction, the Qur’an needs to be handled with care. Given the stakes, this book aims to translate the Qur’an’s ideas in meaningful ways for popular audiences—mirroring the Qur’an’s own effort to convey a mindset of blossoming to people of all backgrounds.

When he sleeps, the snoring does not bother me: the rhythmic growl, gravel shoved across the sidewalk of his throat. It is the grasping, desperate way in which he takes in air—his gulping lungs as if every dream is filled with water and he is trying to inflate the life jacket under his skin. I babble in my sleep. He believes I am trying to tell him how my heart works, says he will translate the manual one day. I want to ask him: am I the ocean? Are you drowning in everything I don’t say when I’m awake?” —Heart Apnea

We modern human beings are looking at life, trying to make some sense of it; observing a 'reality' that often seems to be unfolding in a foreign tongue--only we've all been issued the wrong librettos. For a text, we're given the Bible. Or the Talmud or the Koran. We're given Time magazine, and Reader's Digest, daily papers, and the six o'clock news; we're given schoolbooks, sitcoms, and revisionist histories; we're given psychological counseling, cults, workshops, advertisements, sales pitches, and authoritative pronouncements by pundits, sold-out scientists, political activists, and heads of state. Unfortunately, none of these translations bears more than a faint resemblance to what is transpiring in the true theater of existence, and most of them are dangerously misleading. We're attempting to comprehend the spiraling intricacies of a magnificently complex tragicomedy with librettos that describe the barrom melodramas or kindergarten skits. And when's the last time you heard anybody bitch about it to the management?

Not everything in life is so black and white, but the authenticity of the Book of Mormon and its keystone role in our religion seem to be exactly that. Either Joseph Smith was the prophet he said he was, a prophet who, after seeing the Father and the Son, later beheld the angel Moroni, repeatedly heard counsel from Moroni's lips, and eventually received at his hands a set of ancient gold plates that he then translated by the gift and power of God, or else he did not. And if he did not, he would not be entitled to the reputation of New England folk hero or well-meaning young man or writer of remarkable fiction. No, nor would he be entitled to be considered a great teacher, a quintessential American religious leader, or the creator of great devotional literature. If he had lied about the coming forth of the Book of Mormon, he would certainly be none of these... If Joseph Smith did not translate the Book of Mormon as a work of ancient origin, then I would move heaven and earth to meet the "real" nineteenth-century author. After one hundred and fifty years, no one can come up with a credible alternative candidate, but if the book were false, surely there must be someone willing to step forward-if no one else, at least the descendants of the "real" author-claiming credit for such a remarkable document and all that has transpired in its wake. After all, a writer that can move millions can make millions. Shouldn't someone have come forth then or now to cashier the whole phenomenon?

When my husband had an affair with someone else I watched his eyes glaze over when we ate dinner together and I heard him singing to himself without me, and when he tended the garden it was not for me. He was courteous and polite; he enjoyed being at home, but in the fantasy of his home I was not the one who sat opposite him and laughed at his jokes. He didn't want to change anything; he liked his life. The only thing he wanted to change was me. It would have been better if he had hated me, or if he had abused me, or if he had packed his new suitcases and left. As it was he continued to put his arm round me and talk about being a new wall to replace the rotten fence that divided our garden from his vegetable patch. I knew he would never leave our house. He had worked for it. Day by day I felt myself disappearing. For my husband I was no longer a reality, I was one of the things around him. I was the fence which needed to be replaced. I watched myself in the mirror and saw that I was mo longer vivid and exciting. I was worn and gray like an old sweater you can't throw out but won't put on. He admitted he was in love with her, but he said he loved me. Translated, that means, I want everything. Translated, that means, I don't want to hurt you yet. Translated, that means, I don't know what to do, give me time. Why, why should I give you time? What time are you giving me? I am in a cell waiting to be called for execution. I loved him and I was in love with him. I didn't use language to make a war-zone of my heart. 'You're so simple and good,' he said, brushing the hair from my face. He meant, Your emotions are not complex like mine. My dilemma is poetic. But there was no dilemma. He no longer wanted me, but he wanted our life Eventually, when he had been away with her for a few days and returned restless and conciliatory, I decided not to wait in my cell any longer. I went to where he was sleeping in another room and I asked him to leave. Very patiently he asked me to remember that the house was his home, that he couldn't be expected to make himself homeless because he was in love. 'Medea did,' I said, 'and Romeo and Juliet and Cressida, and Ruth in the Bible.' He asked me to shut up. He wasn't a hero. 'Then why should I be a heroine?' He didn't answer, he plucked at the blanket. I considered my choices. I could stay and be unhappy and humiliated. I could leave and be unhappy and dignified. I could Beg him to touch me again. I could live in hope and die of bitterness. I took some things and left. It wasn't easy, it was my home too. I hear he's replaced the back fence.

(Decadent style) is ingenious, complicated, learned, full of shades of meaning and research, always pushing further the limits of language... forcing itself to express in thought that which is most ineffable, and in form the vaguest and most fleeting contours; listening that it may translate them to the subtle confidences of the neuropath, to the avowals of aging and depraved passion, and to the singular hallucinations of the fixed idea verging on madness... In opposition to the classic style, it admits of shading, and these shadows teem and swarm with the larvae of superstitions, the haggard phantoms of insomnia, nocturnal terrors, remorse which starts and turns back at the slightest noise, monstrous dreams stayed only by impotence, obscure phantasies at which daylight would stand amazed, and all that the soul conceals of the dark, the unformed, and the vaguely horrible, in its deepest and furthest recesses.

When the Qur’an critically evaluates the individual behavior of certain Jews, Christians, and pagans, it does so because these individuals serve as models for both what to do and not to do. Compared to the standards of harsh prophetic chastisement found in the revelations of Jeremiah and Ezekiel, the Qur’an is a gentle critic—despite attempts by some translators to heighten the tension.

You are living as if destined to live for ever; your own frailty never occurs to you; you don't notice how much time has already passed, but squander it as though you had a full and overflowing supply - though all the while that very day which you are devoting to somebody or something may be your last. You act like mortals in all that you fear, and like immortals in all that you desire.

There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open.

As meditation deepens, compulsions, cravings, and fits of emotions begin to lose their power to dictate our behavior. We see clearly that choices are possible: we can say yes, or we can say no. ... "All we are is the result of what we have thought." By changing our mode of thinking, we can remake ourselves completely.

....one of those long, romantic novels, six hundred and fifty pages of small print, translated from French or German or Hungarian or something -- because few of the English ones have the exact feeling I mean. And you read one page of it or even one phrase of it, and then you gobble up all the rest and go about in a dream for weeks afterwards, for months afterwards -- perhaps all your life, who knows? -- surrounded by those six hundred and fifty pages, the houses, the streets, the snow, the river, the roses, the girls, the sun, the ladies' dresses and the gentlemen's voices, the old, wicked, hard-hearted women and the old, sad women, the waltz music -- everything. What is not there you put in afterwards, for it is alive, this book, and it grows in your head. 'The house I was living in when I read that book,' you think, or 'This colour reminds me of that book.

I think brains might be machines that turn information into feelings and feelings back into decisions and I've discovered that my machine has been put together in a strange way and it translates life in a strange way but I have no way to fix this—I'm not a brain-machine fixer, I'm just a haver of a brain, like anyone, and none of us know how to fix ourselves, at least not entirely, not well enough

Let not the rash marble risk garrulous breaches of oblivion's omnipotence, in many words recalling name, renown, events, birthplace. All those glass jewels are best left in the dark. Let not the marble say what men do not. The essentials of the dead man's life-- the trembling hope, the implacable miracle of pain, the wonder of sensual delight-- will abide forever. Blindly the uncertain soul asks to continue when it is the lives of others that will make that happen, as you yourself are the mirror and image of those who did not live as long as you and others will be (and are) your immortality on earth.

Don't fret my dear. If art is translation of the ephemeral into observable form, then always remember that it is the translationn that is the craft. The craft is that which can always be improved. But the ephemeral is that which only you have been able to observe, and that which only you have chosen to translate, and so in a way, the ephemeral is you, and it is already beautiful.

Anyway, those things would not have lasted long. The experience of the years shows it to me. But Destiny arrived in some haste and stopped them. The beautiful life was brief. But how potent were the perfumes, On how splendid a bed we lay, To what sensual delight we gave our bodies. An echo of the days of pleasure, An echo of the days drew near me, A little of the fire of the youth of both of us, Again I took in my hands a letter, And I read and reread till the light was gone. And melancholy, I came out on the balcony Came out to change my thoughts at least by looking at A little of the city that I loved, A little movement on the street and in the shops. Translated by Rae Dalven

Puhpowee, she explained, translates as “the force which causes mushrooms to push up from the earth overnight.” As a biologist, I was stunned that such a word existed. The makers of this word understood a world of being, full of unseen energies that animate everything. I’ve cherished it for many years, as a talisman, and longed for the people who gave a name to the life force of mushrooms. The language that holds Puhpowee is one that I wanted to speak. So when I learned that the word for rising, for emergence, belonged to the language of my ancestors, it became a signpost for me.

  Are you oblivious to the sufferings of birth, old age, sickness and death? There is no guarantee that you will survive, even past this very day! The time has come [for you] to develop perseverance in [your] practice. For, at this singular opportunity, you could attain the everlasting bliss [of nirvāṇa]. So now is [certainly] not the time to sit idly, But, starting with [the reflection on] death, you should bring your practice to completion!3   The moments of our life are not expendable, And the [possible] circumstances of death are beyond imagination. If you do not achieve an undaunted confident security now, What point is there in your being alive, O living creature?

Abba is not Hebrew, the language of liturgy, but Aramaic, the language of home and everyday life … We need to be wary of the suggestion … that the correct translation of Abba is ‘Daddy.’ Abba is the intimate word of a family circle where that obedient reverence was at the heart of the relationship, whereas Daddy is the familiar word of a family circle from which all thoughts of reverence and obedience have largely disappeared … The best English translation of Abba is simply ‘Dear Father.

It seemed to work at first. I tried hard to forget, but there remained inside me a vague knot-of-air kind of thing. And as time went by, the knot began to take on a clear and simple form, a form that I am able to put into words, like this: Death exists, not as the opposite but as a part of life. Translate into words, it's a cliche, but at the time I felt it not as words but as that knot of air inside me. Death exists - in a paperweight, in four red and white balls on a billiard table - and we go on living and breathing it into our lungs like fine dust. Until that time, I had understood death as something entirely separate from and independent of life. The hand of death is bound to take us, I had felt, but until the day it reaches out for us, it leaves us alone. This had seemed to me the simple, logical truth. Life is here, death is over there. I am here, not over there. The night Kizuki died, however, I lost the ability to see death (and life) in such simple terms. Death was not the opposite of life. It was already here, within my being, it had always been here, and no struggle would permit me to forget that... I lived through the following spring...with that kind knot of air in my chest, but I struggled all the while against becoming serious. Becoming serious was not the same thing as approaching truth, I sensed, however vaguely. But death was a fact, a serious fact, no matter how you looked at it. stuck inside this suffocating contradiction, I went on endlessly spinning in circles...In the midst of life, everything revolved around death.

Deep in her soul, however, she was waiting for something to happen. Like a sailor in distress, she would gaze out over the solitude of her life with desperate eyes, seeking some white sail in the mists of the far-off horizon. She did not know what this chance event would be, what wind would drive it to her, what shore it would carry her to, whether it was a longboat or a three-decked vessel, loaded with anguish or filled with happiness up to the portholes. But each morning, when she awoke, she hoped it would arrive that day, and she would listen to every sound, spring to her feet, feel surprised that it had not come; then at sunset, always more sorrowful, she would wish the next day were already there.

Lee’s hand shook as he filled the delicate cups. He drank his down in one gulp. “Don’t you see?” he cried. “The American Standard translation orders men to triumph over sin, and you can call sin ignorance. The King James translation makes a promise in ‘Thou shalt,’ meaning that men will surely triumph over sin. But the Hebrew word, the word timshel—‘Thou mayest’— that gives a choice. It might be the most important word in the world. That says the way is open. That throws it right back on a man. For if ‘Thou mayest’—it is also true that ‘Thou mayest not.’ Don’t you see?

Robin wondered then how much of Anthony’s life had been spent carefully translating himself to white people, how much of his genial, affable polish was an artful construction to fit a particular idea of a Black man in white England and to afford himself maximum access within an institution like Babel. And he wondered if there would ever be a day that came when all this was unnecessary, when white people would look at him and Anthony and simply listen, when their words would have worth and value because they were uttered, when they would not have to hide who they were, when they wouldn’t have to go through endless distortions just to be understood.

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.

Chase, we don’t believe that homosexuality is a sin. The Bible was inspired by God, but it was written, translated, and interpreted by imperfect people just like us. This means that the passing of this sacred scripture from generation to generation and from culture to culture has been a bit like the “telephone game” you play at school. After thousands of years, it’s impossible to judge the original spirit of some scripture. We believe that when in doubt, mercy triumphs judgment. So your parents are Christians who study and pray and then carefully choose what we follow in the Bible, based on whether or not it matches our understanding of Jesus’s overall message.

Chaap Tilak Chhap tilak sab cheeni ray mosay naina milaikay Chhap tilak sab cheeni ray mosay naina milaikay Prem bhatee ka madhva pilaikay Matvali kar leeni ray mosay naina milaikay Gori gori bayyan, hari hari churiyan Bayyan pakar dhar leeni ray mosay naina milaikay Bal bal jaaon mein toray rang rajwa Apni see kar leeni ray mosay naina milaikay Khusrau Nijaam kay bal bal jayyiye Mohay Suhaagan keeni ray mosay naina milaikay Chhap tilak sab cheeni ray mosay naina milaikay Translation You've taken away my looks, my identity, by just a glance. By making me drink the wine of love-potion, You've intoxicated me by just a glance; My fair, delicate wrists with green bangles in them, Have been held tightly by you with just a glance. I give my life to you, Oh my cloth-dyer, You've dyed me in yourself, by just a glance. I give my whole life to you Oh, Nijam, You've made me your bride, by just a glance.

PLANETARIUM Thinking of Caroline Herschel (1750–1848) astronomer, sister of William; and others. A woman in the shape of a monster a monster in the shape of a woman the skies are full of them a woman ‘in the snow among the Clocks and instruments or measuring the ground with poles’ in her 98 years to discover 8 comets she whom the moon ruled like us levitating into the night sky riding the polished lenses Galaxies of women, there doing penance for impetuousness ribs chilled in those spaces of the mind An eye, ‘virile, precise and absolutely certain’ from the mad webs of Uranusborg encountering the NOVA every impulse of light exploding from the core as life flies out of us Tycho whispering at last ‘Let me not seem to have lived in vain’ What we see, we see and seeing is changing the light that shrivels a mountain and leaves a man alive Heartbeat of the pulsar heart sweating through my body The radio impulse pouring in from Taurus I am bombarded yet I stand I have been standing all my life in the direct path of a battery of signals the most accurately transmitted most untranslatable language in the universe I am a galactic cloud so deep so invo- luted that a light wave could take 15 years to travel through me And has taken I am an instrument in the shape of a woman trying to translate pulsations into images for the relief of the body and the reconstruction of the mind.

I think that when you consider the beauty of the world and you wonder how it came to be what it is, you are naturally overwhelmed with a feeling of awe, a feeling of admiration and you almost feel a desire to worship something. I feel this, I recognise that other scientists such as Carl Sagan feel this, Einstein felt it. We, all of us, share a kind of religious reverence for the beauties of the universe, for the complexity of life. For the sheer magnitude of the cosmos, the sheer magnitude of geological time. And it’s tempting to translate that feeling of awe and worship into a desire to worship some particular thing, a person, an agent. You want to attribute it to a maker, to a creator. What science has now achieved is an emancipation from that impulse to attribute these things to a creator. -- God Delusion debate Professor Richard Dawkins vs John Lennox

So too, friend, purification of virtue is for the sake of reaching purification of mind; purification of mind is for the sake of reaching purification of view; purification of view is for the sake of reaching purification by overcoming doubt; purification by overcoming doubt is for the sake of reaching purification by knowledge and vision of what is the path and what is not the path; purification by knowledge and vision of what is the path and what is not the path is for the sake of reaching purification by knowledge and vision of the way; purification by knowledge and vision of the way is for the sake of reaching purification by knowledge and vision; purification by knowledge and vision is for the sake of reaching final Nibbāna [Nirvana] without clinging. It is for the sake of final Nibbāna without clinging that the holy life is lived under the Blessed One.

Habits are undeniably useful tools, relieving us of the need to run a complex mental operation every time we’re confronted with a new task or situation. Yet they also relieve us of the need to stay awake to the world: to attend, feel, think, and then act in a deliberate manner. (That is, from freedom rather than compulsion.) If you need to be reminded how completely mental habit blinds us to experience, just take a trip to an unfamiliar country. Suddenly you wake up! And the algorithms of everyday life all but start over, as if from scratch. This is why the various travel metaphors for the psychedelic experience are so apt. The efficiencies of the adult mind, useful as they are, blind us to the present moment. We’re constantly jumping ahead to the next thing. We approach experience much as an artificial intelligence (AI) program does, with our brains continually translating the data of the present into the terms of the past, reaching back in time for the relevant experience, and then using that to make its best guess as to how to predict and navigate the future. One of the things that commends travel, art, nature, work, and certain drugs to us is the way these experiences, at their best, block every mental path forward and back, immersing us in the flow of a present that is literally wonderful—wonder being the by-product of precisely the kind of unencumbered first sight, or virginal noticing, to which the adult brain has closed itself. (It’s so inefficient!) Alas, most of the time I inhabit a near-future tense, my psychic thermostat set to a low simmer of anticipation and, too often, worry. The good thing is I’m seldom surprised. The bad thing is I’m seldom surprised.

There is, of course, always the personal satisfaction of writing down one's experiences so they may be saved, caught and pinned under glass, hoarded against the winter of forgetfulness. Time has been cheated a little, at least in one's own life, and a personal, trivial immortality of an old self assured. And there is another personal satisfaction: that of the people who like to recount their adventures, the diary-keepers, the story-tellers, the letter-writers, a strange race of people who feel half cheated of an experience unless it is retold. It does not really exist until it is put into words. As though a little doubting or dull, they could not see it until it is repeated. For, paradoxically enough, the more unreal an experience becomes - translated from real action into unreal words, dead symbols for life itself - the more vivid it grows. Not only does it seem more vivid, but its essential core becomes clearer. One says excitedly to an audience, 'Do you see - I can't tell you how strange it was - we all of us felt...' although actually, at the time of incident, one was not conscious of such a feeling, and only became so in the retelling. It is as inexplicable as looking all afternoon at a gray stone of a beach, and not realizing, until one tries to put it on canvas, that is in reality bright blue.

A third group of people see the highest felicity in the abundance of property and the extension of ease. After all, property is an instrument to achieve the object of appetite. Through it, the human being attains the ability to achieve wishes. Hence, these people aspire to gather property; to increase estates, land, valuable horses, cattle, and farmland, and to hoard dinars in the earth. Hence, you will see one of them striving throughout life --- embarking on great dangers in the deserts, on journeys, and in the oceans to gather possessions with which he is niggardly toward himself, to say nothing of others. These are the ones meant by the words of The Prophet: "The slave of the dirham is miserable: the slave of the dinar is miserable." What darkness is greater than that which deceives the human being? Gold and silver are two stones that are not desired in themselves. When wishes are not achieved through them and they are not spent, then they are just like pebbles, and pebbles are just like them.

I don't want to know more about her; don't want to know her weaknesses or calculate them. What I have is not for her; he gives me to understand she would not know what to do with it; it's not her fault. --One is married and there is nothing to be done.-- Yet he has said to me, I would marry you if I could, meaning: I want very much to marry you. I offended him a bit by not being moved. It's other things he's said that are the text I'm living by. I really do not know if I want any form of public statement, status, code; such as marriage. There's nothing more private and personal than the life of a mistress, is there? Outwardly, no one even knows we are responsible to each other.... 'This is the creature that has never been'--he told me a line of poetry about that unicorn, translated from German. A mythical creature. Un paradis inventé.

She looked up at him with those eyes, and Dougan experienced a pang of love so intense and ferocious it felt as though it didn't belong in this holy room. He began the incantation he remembered from watching once from behind his mother's skirts when he was young. 'Ye are blood of my blood, and bone of my bone. I give ye my body, that we two might be one. I give ye my spirit, 'til our life shall be done.' Farah needed a bit of prompting to remember all the words, but she said them with such fervency that Dougan was touched. Slipping a ring of a willow herb vine onto her finger, he recited the sacred olde vows with perfect clarity, but translated them into English for her sake. 'I made ye my heart At the rising of the moon. To love and honor, Through all our lives. May we be reborn, May our souls meet and know. And love again. And remember.' She looked lost and mystified for a moment, then announced, "Me, too.

Because I grew up around Danny and Phillip, I discovered the truth about the male language very early in life. What I learned is there are three basic responses that most guys will use when shouldered with the major task of having to answer the question, How do I look? by the fairer sex. Although I have never confirmed it, I am convinced that boys are taken aside in school, probably in fifth grade when the girls watch the film about getting their periods, and are taught the following three responses: You look like shit. (Translation: You look bad. Just go back to bed and start over tomorrow. I really shouldn't be seen with you like this.) You look fine. (Translation: You look good enough to be seen with.) You look hot. (Translation: I want you.) They also must teach them there is only one acceptable variation to these responses and to use it sparingly. The variation is simple. They just throw a REALLY into the sentence. The following are examples I have witnessed: JJ, you REALLY look like shit. (Translation: You must be very hung over, or sick, or having an extremely bad hair day. I really don't want to be seen with you.) REALLY, JJ, your hair looks fine. (Translation: Your hair looks the same to me as it always does, even though you spent an hour fixing it, so stop messing with it and lets go because you look good enough to be seen with.) And… (Insert cheerleader's name here) looks REALLY Hot. (Translation: I REALLY want her.)

I ran across an excerpt today (in English translation) of some dialogue/narration from the modern popular writer, Paulo Coelho in his book: Aleph.(Note: bracketed text is mine.)... 'I spoke to three scholars,' [the character says 'at last.'] ...two of them said that, after death, the [sic (misprint, fault of the publisher)] just go to Paradise. The third one, though, told me to consult some verses from the Koran. [end quote]' ...I can see that he's excited. [narrator]' ...Now I have many positive things to say about Coelho: He is respectable, inspiring as a man, a truth-seeker, and an appealing writer; but one should hesitate to call him a 'literary' writer based on this quote. A 'literary' author knows that a character's excitement should be 'shown' in his or her dialogue and not in the narrator's commentary on it. Advice for Coelho: Remove the 'I can see that he's excited' sentence and show his excitement in the phrasing of his quote.(Now, in defense of Coelho, I am firmly of the opinion, having myself written plenty of prose that is flawed, that a novelist should be forgiven for slipping here and there.)Lastly, it appears that a belief in reincarnation is of great interest to Mr. Coelho ... Just think! He is a man who has achieved, (as Leonard Cohen would call it), 'a remote human possibility.' He has won lots of fame and tons of money. And yet, how his preoccupation with reincarnation—none other than an interest in being born again as somebody else—suggests that he is not happy!

William Shakespeare (baptised 26 April 1564 – died 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world. Source: Wikipedia

Here are the essentials of a happy life, my dear friend: money not worked for, but inherited; some land not unproductive; a hearth fire always going; law suits never; the toga rarely worn; a calm mind; a gentleman’s strong and healthy body; circumspect candor, friends who are your equals; relaxed dinner parties, a simple table, nights not drunken, but free from anxieties; a marriage bed not prudish, and yet modest; plenty of sleep to make the dark hours short. Wish to be what you are, and prefer nothing more. Don’t fear your last day, or hope for it either. Translated from original text: Vitam quae faciant beatiorem, Iucundissime Martialis, haec sunt: Res non parta labore, sed relicta; Non ingratus ager, focus perennis; Lis numquam, toga rara, mens quieta; Vires ingenuae, salubre corpus; Prudens simplicitas, pares amici; Convictus facilis, sine arte mensa; Nox non ebria, sed soluta curis; Non tristis torus, et tamen pudicus; Somnus, qui faciat breves tenebras: Quod sis, esse velis nihilque malis; Summum nec metuas diem nec optes.

Reminiscing in the drizzle of Portland, I notice the ring that’s landed on your finger, a massive insect of glitter, a chandelier shining at the end of a long tunnel. Thirteen years ago, you hid the hurt in your voice under a blanket and said there’s two kinds of women—those you write poems about and those you don’t. It’s true. I never brought you a bouquet of sonnets, or served you haiku in bed. My idea of courtship was tapping Jane’s Addiction lyrics in Morse code on your window at three A.M., whiskey doing push-ups on my breath. But I worked within the confines of my character, cast as the bad boy in your life, the Magellan of your dark side. We don’t have a past so much as a bunch of electricity and liquor, power never put to good use. What we had together makes it sound like a virus, as if we caught one another like colds, and desire was merely a symptom that could be treated with soup and lots of sex. Gliding beside you now, I feel like the Benjamin Franklin of monogamy, as if I invented it, but I’m still not immune to your waterfall scent, still haven’t developed antibodies for your smile. I don’t know how long regret existed before humans stuck a word on it. I don’t know how many paper towels it would take to wipe up the Pacific Ocean, or why the light of a candle being blown out travels faster than the luminescence of one that’s just been lit, but I do know that all our huffing and puffing into each other’s ears—as if the brain was a trick birthday candle—didn’t make the silence any easier to navigate. I’m sorry all the kisses I scrawled on your neck were written in disappearing ink. Sometimes I thought of you so hard one of your legs would pop out of my ear hole, and when I was sleeping, you’d press your face against the porthole of my submarine. I’m sorry this poem has taken thirteen years to reach you. I wish that just once, instead of skidding off the shoulder blade’s precipice and joyriding over flesh, we’d put our hands away like chocolate to be saved for later, and deciphered the calligraphy of each other’s eyelashes, translated a paragraph from the volumes of what couldn’t be said.

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable rights, that among these are life, liberty, and the pursuit of happiness. According to the science of biology, people were not ‘created’. They have evolved. And they certainly did not evolve to be ‘equal’. The idea of equality is inextricably intertwined with the idea of creation. The Americans got the idea of equality from Christianity, which argues that every person has a divinely created soul, and that all souls are equal before God. However, if we do not believe in the Christian myths about God, creation and souls, what does it mean that all people are ‘equal’? Evolution is based on difference, not on equality. Every person carries a somewhat different genetic code, and is exposed from birth to different environmental influences. This leads to the development of different qualities that carry with them different chances of survival. ‘Created equal’ should therefore be translated into ‘evolved differently’. Just as people were never created, neither, according to the science of biology, is there a ‘Creator’ who ‘endows’ them with anything. There is only a blind evolutionary process, devoid of any purpose, leading to the birth of individuals. ‘Endowed by their creator’ should be translated simply into ‘born’. Equally, there are no such things as rights in biology. There are only organs, abilities and characteristics. Birds fly not because they have a right to fly, but because they have wings. And it’s not true that these organs, abilities and characteristics are ‘unalienable’. Many of them undergo constant mutations, and may well be completely lost over time. The ostrich is a bird that lost its ability to fly. So ‘unalienable rights’ should be translated into ‘mutable characteristics’. And what are the characteristics that evolved in humans? ‘Life’, certainly. But ‘liberty’? There is no such thing in biology. Just like equality, rights and limited liability companies, liberty is something that people invented and that exists only in their imagination. From a biological viewpoint, it is meaningless to say that humans in democratic societies are free, whereas humans in dictatorships are unfree. And what about ‘happiness’? So far biological research has failed to come up with a clear definition of happiness or a way to measure it objectively. Most biological studies acknowledge only the existence of pleasure, which is more easily defined and measured. So ‘life, liberty, and the pursuit of happiness’ should be translated into ‘life and the pursuit of pleasure’. So here is that line from the American Declaration of Independence translated into biological terms: We hold these truths to be self-evident, that all men evolved differently, that they are born with certain mutable characteristics, and that among these are life and the pursuit of pleasure.

How imperious the homicidal madness must have become if they’re willing to pardon—no, forget!—the theft of a can of meat! True, we have got into the habit of admiring colossal bandits, whose opulence is revered by the entire world, yet whose existence, once we stop to examine it, proves to be one long crime repeated ad infinitum, but those same bandits are heaped with glory, honors, and power, their crimes are hallowed by the law of the land, whereas, as far back in history as the eye can see—and history, as you know is my business—everything conspires to show that a venial theft, especially of inglorious foodstuffs, such as bread crusts, ham, or cheese, unfailingly subjects its perpetrator to irreparable opprobrium, the categoric condemnation of the community, major punishment, automatic dishonor, and inexpiable shame, and this for two reasons, first because the perpetrator of such an offense is usually poor, which in itself connotes basic unworthiness, and secondly because his act implies, as it were, a tacit reproach to the community. A poor man’s theft is seen as a malicious attempt at individual redress . . . Where would we be? Note accordingly that in all countries the penalties for petty theft are extrememly severe, not only as a means of defending society, but also as a stern admonition to the unfortunate to know their place, stick to their caste, and behave themselves, joyfully resigned to go on dying of hunger and misery down through the centuries forever and ever . . . Until today, however, petty thieves enjoyed one advantage in the Republic, they were denied the honor of bearing patriotic arms. But that’s all over now, tomorrow I, a theif, will resume my place in the army . . . Such are the orders . . . It has been decided in high places to forgive and forget what they call my momentary madness, and this, listen carefully, in consideration of what they call the honor of my family. What solicitude! I ask you, comrade, is it my family that is going to serve as a strainer and sorting house for mixed French and German bullets? . . . It’ll just be me wont it? And when I’m dead is the honor of my family going to bring me back to life?

What are the things that make adults depressed? The master list is too comprehensive to quantify (plane crashes, unemployment, killer bees, impotence, Stringer Bell's murder, gambling addictions, crib death, the music of Bon Iver, et al.) But whenever people talk about their personal bouts of depression in the abstract, there are two obstructions I hear more than any other. The possibility that one's life is not important, and the mundane predictability of day-to-day existence. Talk to a depressed person (particularly one who's nearing midlife), and one (or both) of these problems will inevitably be described. Since the end of World War II, every generation of American children has been endlessly conditioned to believe that their lives are supposed to be great -- a meaningful life is not just possible, but required. Part of the reason forward-thinking media networks like Twitter succeed is because people want to believe that every immaterial thing they do is pertinent by default; it's interesting because it happened to them, which translates as interesting to all. At the same time, we concede that a compelling life is supposed to be spontaneous and unpredictable-- any artistic depiction of someone who does the same thing every day portrays that character as tragically imprisoned (January Jones on Mad Men, Ron Livingston in Office Space, the lyrics to "Eleanor Rigby," all novels set in affluent suburbs, pretty much every project Sam Mendes has ever conceived, etc.) If you know exactly what's going to happen tomorrow, the voltage of that experience is immediately mitigated. Yet most lives are the same, 95 percent of the time. And most lives aren't extrinsically meaningful, unless you're delusionally self-absorbed or authentically Born Again. So here's where we find the creeping melancholy of modernity: The one thing all people are supposed to inherently deserve- a daily subsistence that's both meaningful and unpredictable-- tends to be an incredibly rare commodity. If it's not already there, we cannot manufacture it.