3
" Yes,” said Cooley. “That is the question, as the Bard might say.” “The Bard?” “What’s so funny?” said Cooley. “Nothing, sir,” I said. “I just didn’t know people still used that term.” “Well, I’m a people, Burke. Am I not?” “Of course.” “If you prick me, do I not bleed, you scat-gobbling, mother-rimming prick?” Occasionally Dean Cooley reverted to a vocabulary more suited to his marine years, but some maintained it was only when he felt threatened, or stretched for time. “Yes, sir,” I said. "
― Sam Lipsyte , The Ask
9
" I would travel far and wide...seeing, listening, creating. I would weave tales for an enthralled audience. A song would be heard throughout the kingdom, and I would be a part of that. You would normally think that a bard would pick up his tales from stories heard in his travels or, perhaps, from personal observation of these events. Perhaps some bards would create the stories themselves or, at least, adapt the original versions heard...
But what if the bard were really more than a bard? What if he were once a gallant knight or an old sea captain...perhaps even a forgotten prince? What if the stories he told, what if the characters brought to life in his stories, were really of his comrades and himself? Stories from long ago that he finally wished to be heard? What if those who listened to his tales, all the while assuming that they were far disconnected from their communicator, were really listening to the narrative of a wanderer intimately connected to it all? And where would such an individual go when his final days as an “official” bard were spent? Perhaps he would decide to retire in a lighthouse. For, surely, no place would be more fitting for the hero emeritus. He would gaze upon the glorious sea in recollection...guiding others with the beacon of light atop his home as he had once been shepherded. The adventurer became the storyteller...and then the Sentinel of the Sea. "
― Gina Marinello-Sweeney , I Thirst (The Veritas Chronicles #1)
12
" Hamlet' dwarfs 'Hamilton' - it dwarfs pretty much everything - but there's a revealing similarity between them. Shakespeare's longest play leaves its audience in the dark about some basic and seemingly crucial facts. It's not as if the Bard forgot, in the course of all those words, to tell us whether Hamlet was crazy or only pretending: He wanted us to wonder. He forces us to work on a puzzle that has no definite answer. And this mysteriousness is one reason why we find the play irresistible. 'Hamilton' is riddled with question marks. The first act begins with a question, and so does the second. The entire relationship between Hamilton and Burr is based on a mutual and explicit lack of comprehension: 'I will never understand you,' says Hamilton, and Burr wonders, 'What it is like in his shoes?' Again and again, Lin distinguishes characters by what they wish they knew. 'What'd I miss?' asks Jefferson in the song that introduces him. 'Would that be enough?' asks Eliza in the song that defines her. 'Why do you write like you're running out of time?' asks everybody in a song that marvels at Hamilton's drive, and all but declares that there's no way to explain it. 'Hamilton', like 'Hamlet', gives an audience the chance to watch a bunch of conspicuously intelligent and well-spoken characters fill the stage with 'words, words, words,' only to discover, again and again, the limits to what they can comprehend. "
13
" Go ye, who rest so placidly upon the sacred Bard who had been young, and when he strung his harp was old, and had never seen the righteous forsaken, or his seed begging their bread; go, Teachers of content and honest pride, into the mine, the mill, the forge, the squalid depths of deepest ignorance, and uttermost abyss of man's neglect, and say can any hopeful plant spring up in air so foul that it extinguishes the soul's bright torch as fast as it is kindled! "
― Charles Dickens , Martin Chuzzlewit
14
" Certainly not! I didn't build a machine to solve ridiculous crossword puzzles! That's hack work, not Great Art! Just give it a topic, any topic, as difficult as you like..." Klapaucius thought, and thought some more. Finally he nodded and said:" Very well. Let's have a love poem, lyrical, pastoral, and expressed in the language of pure mathematics. Tensor algebra mainly, with a little topology and higher calculus, if need be. But with feeling, you understand, and in the cybernetic spirit." " Love and tensor algebra?" Have you taken leave of your senses?" Trurl began, but stopped, for his electronic bard was already declaiming:Come, let us hasten to a higher plane,Where dyads tread the fairy fields of Venn,Their indices bedecked from one to n,Commingled in an endless Markov chain!Come, every frustum longs to be a cone,And every vector dreams of matrices.Hark to the gentle gradient of the breeze:It whispers of a more ergodic zone.In Reimann, Hilbert or in Banach spaceLet superscripts and subscripts go their ways.Our asymptotes no longer out of phase,We shall encounter, counting, face to face.I'll grant thee random access to my heart,Thou'lt tell me all the constants of thy love;And so we two shall all love's lemmas prove,And in bound partition never part.For what did Cauchy know, or Christoffel,Or Fourier, or any Boole or Euler,Wielding their compasses, their pens and rulers,Of thy supernal sinusoidal spell?Cancel me not--for what then shall remain?Abscissas, some mantissas, modules, modes,A root or two, a torus and a node:The inverse of my verse, a null domain.Ellipse of bliss, converge, O lips divine!The product of our scalars is defined!Cyberiad draws nigh, and the skew mindCuts capers like a happy haversine.I see the eigenvalue in thine eye,I hear the tender tensor in thy sigh.Bernoulli would have been content to die,Had he but known such a^2 cos 2 phi! "