Worldshaker Quotes

After all, there was nothing preposterous and world-shaking in the idea that there might be events which overstepped the limited categories of space, time, and causality. Animals were known to sense beforehand storms and earthquakes. There were dreams which foresaw the death of certain persons, clocks which stopped at the moment of death, glasses which shattered at the critical moment. All these things had been taken for granted in the world of my childhood. And now I was apparently the only person who had ever heard of them. In all earnestness I asked myself what kind of world I had stumbled into. Plainly, the urban world knew nothing about the country world, the real world of mountains, woods and rivers, of animals and ‘God’s thoughts’ (plants and crystals). I found this explanation comforting. At all events, it bolstered my self-esteem.

Even the austere philosopher Immanuel Kant of Koenigsberg, it is said, whose habits were so regular that the citizens of that town set their watches by him, postponed the hour of his afternoon stroll when he received the news, thus convincing Koenigsberg that a world-shaking event had indeed happened.

She smiled innocuously—at variance with her words. At this point he could not discern her degree of seriousness. A topic of world-shaking importance, yet dealt with facetiously; an android trait, possibly, he thought. No emotional awareness, no feeling-sense of the actual meaning of what she said. Only the hollow, formal, intellectual definitions of the separate terms. And, more, Rachael had begun to tease him. Imperceptibly she had passed from lamenting her condition to taunting him about his.

I don't know what kind of great I'm bound to be," Dove considered his prospects calmly, "all I know for certain is I'm born a world-shaker.

For me the most world-shaking event in my life began with nothing more than a mild-mannered want ad read by my mother, for the upshot of the matter was that she wouldn’t quit talking about it...

It was astonishing how loudly one laughed at tales of gruesome things, of war’s brutality-I with the rest of them. I think at the bottom of it was a sense of the ironical contrast between the normal ways of civilian life and this hark-back to the caveman code. It made all our old philosophy of life monstrously ridiculous. It played the “hat trick” with the gentility of modern manners. Men who had been brought up to Christian virtues, who had prattled their little prayers at mothers’ knees, who had grown up to a love of poetry, painting, music, the gentle arts, over-sensitized to the subtleties of half-tones, delicate scales of emotion, fastidious in their choice of words, in their sense of beauty, found themselves compelled to live and act like ape-men; and it was abominably funny. They laughed at the most frightful episodes, which revealed this contrast between civilized ethics and the old beast law. The more revolting it was the more, sometimes, they shouted with laughter, especially in reminiscence, when the tale was told in the gilded salon of a French chateau, or at a mess-table. It was, I think, the laughter of mortals at the trick which had been played on them by an ironical fate. They had been taught to believe that the whole object of life was to reach out to beauty and love, and that mankind, in its progress to perfection, had killed the beast instinct, cruelty, blood-lust, the primitive, savage law of survival by tooth and claw and club and ax. All poetry, all art, all religion had preached this gospel and this promise. Now that ideal had broken like a china vase dashed to hard ground. The contrast between That and This was devastating. It was, in an enormous world-shaking way, like a highly dignified man in a silk hat, morning coat, creased trousers, spats, and patent boots suddenly slipping on a piece of orange-peel and sitting, all of a heap, with silk hat flying, in a filthy gutter. The war-time humor of the soul roared with mirth at the sight of all that dignity and elegance despoiled. So we laughed merrily, I remember, when a military chaplain (Eton, Christ Church, and Christian service) described how an English sergeant stood round the traverse of a German trench, in a night raid, and as the Germans came his way, thinking to escape, he cleft one skull after another with a steel-studded bludgeon a weapon which he had made with loving craftsmanship on the model of Blunderbore’s club in the pictures of a fairy-tale. So we laughed at the adventures of a young barrister (a brilliant fellow in the Oxford “Union”) whose pleasure it was to creep out o’ nights into No Man’s Land and lie doggo in a shell-hole close to the enemy’s barbed wire, until presently, after an hour’s waiting or two, a German soldier would crawl out to fetch in a corpse. The English barrister lay with his rifle ready. Where there had been one corpse there were two. Each night he made a notch on his rifle three notches one night to check the number of his victims. Then he came back to breakfast in his dugout with a hearty appetite.

John Isidore said, “I found a spider.” The three androids glanced up, momentarily moving their attention from the TV screen to him. “Let’s see it,” Pris said. She held out her hand. Roy Baty said, “Don’t talk while Buster is on.” “I’ve never seen a spider,” Pris said. She cupped the medicine bottle in her palms, surveying the creature within. “All those legs. Why’s it need so many legs, J. R.?” “That’s the way spiders are,” Isidore said, his heart pounding; he had difficulty breathing. “Eight legs.” Rising to her feet, Pris said, “You know what I think, J. R.? I think it doesn’t need all those legs.” “Eight?” Irmgard Baty said. “Why couldn’t it get by on four? Cut four off and see.” Impulsively opening her purse, she produced a pair of clean, sharp cuticle scissors, which she passed to Pris. A weird terror struck at J. R. Isidore. Carrying the medicine bottle into the kitchen, Pris seated herself at J. R. Isidore’s breakfast table. She removed the lid from the bottle and dumped the spider out. “It probably won’t be able to run as fast,” she said, “but there’s nothing for it to catch around here anyhow. It’ll die anyway.” She reached for the scissors. “Please,” Isidore said. Pris glanced up inquiringly. “Is it worth something?” “Don’t mutilate it,” he said wheezingly. Imploringly. With the scissors, Pris snipped off one of the spider’s legs. In the living room Buster Friendly on the TV screen said, “Take a look at this enlargement of a section of background. This is the sky you usually see. Wait, I’ll have Earl Parameter, head of my research staff, explain their virtually world-shaking discovery to you.” Pris clipped off another leg, restraining the spider with the edge of her hand. She was smiling. “Blowups of the video pictures,” a new voice from the TV said, “when subjected to rigorous laboratory scrutiny, reveal that the gray backdrop of sky and daytime moon against which Mercer moves is not only not Terran—it is artificial.” “You’re missing it!” Irmgard called anxiously to Pris; she rushed to the kitchen door, saw what Pris had begun doing. “Oh, do that afterward,” she said coaxingly. “This is so important, what they’re saying; it proves that everything we believed—” “Be quiet,” Roy Baty said. “—is true,” Irmgard finished. The TV set continued, “The ‘moon’ is painted; in the enlargements, one of which you see now on your screen, brush strokes show. And there is even some evidence that the scraggly weeds and dismal, sterile soil—perhaps even the stones hurled at Mercer by unseen alleged parties—are equally faked. It is quite possible in fact that the ‘stones’ are made of soft plastic, causing no authentic wounds.” “In other words,” Buster Friendly broke in, “Wilbur Mercer is not suffering at all.” The research chief said, “We at last managed, Mr. Friendly, to track down a former Hollywood special-effects man, a Mr. Wade Cortot, who flatly states, from his years of experience, that the figure of ‘Mercer’ could well be merely some bit player marching across a sound stage. Cortot has gone so far as to declare that he recognizes the stage as one used by a now out-of-business minor moviemaker with whom Cortot had various dealings several decades ago.” “So according to Cortot,” Buster Friendly said, “there can be virtually no doubt.” Pris had now cut three legs from the spider, which crept about miserably on the kitchen table, seeking a way out, a path to freedom. It found none.

There are always those in this world who, in Browning’s words, “endure no light, being themselves obscure.” An outsider occasionally berated Sri Yukteswar for an imaginary grievance. My imperturbable guru listened politely, analysing himself to see if any shred of truth lay within the denunciation. These scenes would bring to my mind one of Master’s inimitable observations: “Some people try to be tall by cutting off the heads of others!” The unfailing composure of a saint is impressive beyond any sermon. “He that is slow to anger is better than the mighty; and he that ruleth his spirit than he that taketh a city.” I often reflected that my majestic Master could easily have been an emperor or world-shaking warrior had his mind been centered on fame or worldly achievement. He had chosen instead to storm those inner citadels of wrath and egotism whose fall is the height of a man.

Again and again, governments have made world-shaking decisions based upon misinformation. The fallibility of giant state information-gathering machines bewilders historians, and all nations have regularly suffered from its consequences. Every sensible national leader listens to their intelligence chiefs, but none make critical judgements solely on the basis of their claims.

The whole thing boils down to this paradox: if you are going to be a hero then you must give a gift. If you are the average man you give your heroic gift to the society in which you live, and you give the gift that society specifies in advance. If you are an artist you fashion a peculiarly personal gift, the justification for your own heroic identity, which means that it is always aimed at least partly over the heads of your fellow men. After all, they can't grant the immortality of your personal soul. As Rank argued in the breathtaking closing chapters of Art and Artist, there is no way for the artist to be at peace with his work or with the society that accepts it. The artist's gift is always to creation itself, to the ultimate meaning of life, to God. We should not be surprised that Rank was brought to exactly the same conclusion as Kierkegaard: that the only way out of human conflict is full renunciation, to give one's life as a gift to the highest powers. Absolution has to come from the absolute beyond. As Kierkegaard, Rank showed that this rule applied to the strongest, most heroic types-not to trembling and empty weaklings. To renounce the world and oneself, to lay the meaning of it to the powers of creation, is the hardest thing for man to achieve-and so it is fitting that this task should fall to the strongest personality type, the one with the largest ego. The great scientific world-shaker Newton was the same man who always carried the Bible under his arm.

There is a way to speak the truth in love, treating people with respect. But if being liked is the goal of the preacher, the speech is more likely to be grandstanding than world-shaking.

It is a widely held but a grievously mistaken belief that civil courage finds exercise only in the context of world-shaking events. To the contrary, its most arduous exercise is often in those small contexts in which the challenge is to overcome the fears induced by petty concerns over career, over our relationships to those who appear to have power over us, over whatever may disturb the tranquillity of our mundane existence.

When I started at Freedman’s, during orientation, a speaker who was an alumna and board member talked of sitting in economics class next to a shy young man with a thick West African accent. They struck up a friendship, she said, pausing to wink and nod, which I took as an insinuation of a more intimate relationship. The woman ended the story with his name, and I recognized it as the name of the warlord-turned-dictator-for-life of a small African republic. We were supposed to be impressed by the prominence of our alums, and at the same time we were encouraged to wonder what sort of world-shaker sat beside us. One day the dictator will be overthrown and executed or tried in The Hague for crimes against humanity.

It wasn’t a guarantee that a High Lord’s firstborn would be his heir. The magic sometimes took a while to decide, and often jumped around the birth order completely. Sometimes it found a cousin instead. Sometimes it abandoned the bloodline entirely. Or chose the heir in that moment of birth, in the echoes of a newborn’s first cries. It wouldn’t matter to Cassian, though, if Rhys’s son inherited his world-shaking power, or barely a drop.

...fascism was a latecomer among political movements. It was simply inconceivable before a number of basic preconditions had been put in place. One necessary precondition was mass politics. As a mass movement directed against the Left, fascism could not really exist before the citizenry had become involved in politics. Some of the first switches on the tracks leading to fascism were thrown with the first enduring European experiments with manhood suffrage following the revolutions of 1848. Up to that time, both conservatives and liberals had generally tried to limit the electorate to the wealthy and the educated—“responsible” citizens, capable of choosing among issues of broad principle. After the revolutions of 1848, while most conservatives and cautious liberals were trying to restore limits to the right to vote, a few bold and innovative conservative politicians chose instead to gamble on accepting a mass electorate and trying to manage it. The adventurer Louis Napoleon was elected president of the Second French Republic in December 1848 by manhood suffrage, using simple imagery and what is called today “name recognition” (his uncle was the world-shaking Emperor Napoleon Bonaparte). Confronted with a liberal (in the nineteenth century meaning of the term) legislature that tried in 1850 to disenfranchise poor and itinerant citizens, President Louis Napoleon boldly championed manhood suffrage. Even after he had made himself Emperor Napoleon III in a military coup d’état in December 1851, he let all male citizens vote for a phantom parliament. Against the liberals’ preference for a restricted, educated electorate, the emperor pioneered the skillful use of simple slogans and symbols to appeal to the poor and little educated.

In this book the reader will find, I hope, an antidote for historical amnesia. To this day, the public remembers the Revolution mostly in its enshrined, mythic form. This is peculiar in a democratic society because the sacralized story of the founding fathers, the men of marble, mostly concerns the uppermost slice of American revolutionary society. That is what has lodged in our minds, and this is the fable that millions of people in other countries know about the American Revolution. I ask readers to expand their conception of revolutionary American society and to consider the multiple agendas—the stuff of ideas, dreams, and aspirations—that sprang from its highly diverse and fragmented character. It is not hard today to understand that American people in all their diversity entertain a variety of ideas about what they want their nation to be and what sort of America they want for their children. Much the same was true two centuries ago. But from a distance of more than two centuries we don’t think about our nation’s birth that way. It is more comforting to think about united colonists rising up as a unified body to get the British lion’s paw off the backs of their necks. That is a noble and inspiring David and Goliath story, but it is not what actually happened. It is assuredly not the story of radical democracy’s work during the Revolution. This book presents a people’s revolution, an upheaval among the most heterogeneous people to be found anywhere along the Atlantic littoral in the eighteenth century. The book’s thrust is to complicate the well-established core narrative by putting before the reader bold figures, ideas, and movements, highlighting the true radicalism of the American Revolution that was indispensable to the origins, conduct, character, and outcome of the world-shaking event.

I like to use the leverage and distance genre offers to try to get into the meat of our fractured modern moment, when the real stuff happening outside our windows is big and strange and world-shaking and weird.