23
" Is it true that man was once perfectly pure and innocent, and that he became degenerate by disobedience? No. The real truth is, and the history of man shows, that he has advanced. Events, like the pendulum of a clock have swung forward and backward, but after all, man, like the hands, has gone steadily on. Man is growing grander. He is not degenerating. Nations and individuals fail and die, and make room for higher forms. The intellectual horizon of the world widens as the centuries pass. Ideals grow grander and purer; the difference between justice and mercy becomes less and less; liberty enlarges, and love intensifies as the years sweep on. The ages of force and fear, of cruelty and wrong, are behind us and the real Eden is beyond. It is said that a desire for knowledge lost us the Eden of the past; but whether that is true or not, it will certainly give us the Eden of the future. "
― Robert G. Ingersoll , Some Mistakes of Moses
25
" The finished clock is resplendent. At first glance it is simply a clock, a rather large black clock with a white face and a silver pendulum. Well crafted, obviously, with intricately carved woodwork edges and a perfectly painted face, but just a clock.
But that is before it is wound. Before it begins to tick, the pendulum swinging steadily and evenly. Then, then it becomes something else.
The changes are slow. First, the color changes in the face, shifts from white to grey, and then there are clouds that float across it, disappearing when they reach the opposite side.
Meanwhile, bits of the body of the clock expand and contract, like pieces of a puzzle. As though the clock is falling apart, slowly and gracefully.
All of this takes hours.
The face of the clock becomes a darker grey, and then black, with twinkling stars where numbers had been previously. The body of the clock, which has been methodically turning itself inside out and expanding, is now entirely subtle shades of white and grey. And it is not just pieces, it is figures and objects, perfectly carved flowers and planets and tiny books with actual paper pages that turn. There is a silver dragon that curls around part of the now visible clockwork, a tiny princess in a carved tower who paces in distress, awaiting an absent prince. Teapots that pour into teacups and minuscule curls of steam that rise from them as the seconds tick. Wrapped presents open. Small cats chase small dogs. An entire game of chess is played.
At the center, where a cuckoo bird would live in a more traditional timepiece, is the juggler. Dress in harlequin style with a grey mask, he juggles shiny silver balls that correspond to each hour. As the clock chimes, another ball joins the rest until at midnight he juggles twelve balls in a complex pattern.
After midnight, the clock begins once more to fold in upon itself. The face lightens and the cloud returns. The number of juggled balls decreases until the juggler himself vanishes.
By noon it is a clock again, and no longer a dream. "
― Erin Morgenstern , The Night Circus
35
" There is a distinct difference between " suspense" and " surprise," and yet many pictures continually confuse the two. I'll explain what I mean. We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, " Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: " You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!" In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story. "
36
" Deep in the meadow, under the willow
a bed of grass, a soft green pillow
lay down your head, and close your sleepy eyes
and when again they open, the sun will rise.
Hear it's safe, here it's warm
hear the daisies guard you from every harm
hear your dreams are sweet and tomorrow brings them true
hear is the place where i love you.
Deep in the meadow, hidden far away
a clock of leaves, a moonbeam ray
forget your woes and let your troubles lay
and when again it's morning, they'll wash away.
Hear it's safe, hears its' warm
hear the daises guard you from every harm
Hear your dreams are sweet and tomorrow bring them true
hear is the place where i love you. "
― Suzanne Collins , The Hunger Games (The Hunger Games, #1)