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67 " Like the original concept, the stormrider had rectangular blades, sixteen of them radiating out from the hub, each one a flat lattice of struts twenty-five kilometers long, made from the toughest steelsilicon fibers the Commonwealth knew how to manufacture. Twenty-three kilometers of them were covered by an ultra-thin silvered foil, giving a total surface area of over one thousand eight hundred square kilometers for the solar wind to impact on. Even in an ordinary solar system environment that would have produced a considerable torque. In the Half Way system the stormrider was positioned at the Lagrange point between the red star and its neutron companion, right in the middle of the plasma current, where the ion density was orders of magnitude thicker than any normal solar wind. The power the stormrider produced when it was in the thick of the flow was enough to operate the wormhole generator. But it couldn’t simply sit at the Lagrange point producing electricity continuously; that would have been too much like perpetual motion. As the waves of plasma pushed against it, they exerted an unremitting pressure on the blades that blew the stormrider away from the Lagrange point out toward the neutron star. So for five hours the two sets of blades would turn in opposite directions, generating electricity for the Port Evergreen wormhole that was delivered via a zero-width wormhole. The stormrider also stored some of the power, so that at the end of the five hours when it was out of alignment, it had enough of a reserve to fire its onboard thrusters, moving itself even farther out of the main plasma stream where the pressure was reduced. From there it chased a simple fifteen-hour loop back around through open space to the Lagrange point, where the cycle would begin again. "

Peter F. Hamilton , Judas Unchained (Commonwealth Saga, #2)

71 " And that discovery would betray the closely guarded secret of modern culture to the laughter of the world. For we moderns have nothing of our own. We only become worth notice by filling ourselves to overflowing with foreign customs, arts, philosophies, religions and sciences: we are wandering encyclopaedias, as an ancient Greek who had strayed into our time would probably call us. But the only value of an encyclopaedia lies in the inside, in the contents, not in what is written outside, in the binding or the wrapper. And so the whole of modern culture is essentially internal; the bookbinder prints something like this on the cover: “Manual of internal culture for external barbarians.” The opposition of inner and outer makes the outer side still more barbarous, as it would naturally be, when the outward growth of a rude people merely developed its primitive inner needs. For what means has nature of repressing too great a luxuriance from without? Only one,—to be affected by it as little as possible, to set it aside and stamp it out at the first opportunity. And so we have the custom of no longer taking real things seriously, we get the feeble personality on which the real and the permanent make so little impression. Men become at last more careless and accommodating in external matters, and the [Pg 34] considerable cleft between substance and form is widened; until they have no longer any feeling for barbarism, if only their memories be kept continually titillated, and there flow a constant stream of new things to be known, that can be neatly packed up in the cupboards of their memory. "

Friedrich Nietzsche , On the Advantage and Disadvantage of History for Life

78 " Themes of descent often turn on the struggle between the titanic and the demonic within the same person or group. In Moby Dick, Ahab’s quest for the whale may be mad and “monomaniacal,” as it is frequently called, or even evil so far as he sacrifices his crew and ship to it, but evil or revenge are not the point of the quest. The whale itself may be only a “dumb brute,” as the mate says, and even if it were malignantly determined to kill Ahab, such an attitude, in a whale hunted to the death, would certainly be understandable if it were there. What obsesses Ahab is in a dimension of reality much further down than any whale, in an amoral and alienating world that nothing normal in the human psyche can directly confront.
The professed quest is to kill Moby Dick, but as the portents of disaster pile up it becomes clear that a will to identify with (not adjust to) what Conrad calls the destructive element is what is really driving Ahab. Ahab has, Melville says, become a “Prometheus” with a vulture feeding on him. The axis image appears in the maelstrom or descending spiral (“vortex”) of the last few pages, and perhaps in a remark by one of Ahab’s crew: “The skewer seems loosening out of the middle of the world.” But the descent is not purely demonic, or simply destructive: like other creative descents, it is partly a quest for wisdom, however fatal the attaining of such wisdom may be. A relation reminiscent of Lear and the fool develops at the end between Ahab and the little black cabin boy Pip, who has been left so long to swim in the sea that he has gone insane. Of him it is said that he has been “carried down alive to wondrous depths, where strange shapes of the unwarped primal world glided to and fro . . . and the miser-merman, Wisdom, revealed his hoarded heaps.”
Moby Dick is as profound a treatment as modern literature affords of the leviathan symbolism of the Bible, the titanic-demonic force that raises Egypt and Babylon to greatness and then hurls them into nothingness; that is both an enemy of God outside the creation, and, as notably in Job, a creature within it of whom God is rather proud. The leviathan is revealed to Job as the ultimate mystery of God’s ways, the “king over all the children of pride” (41:34), of whom Satan himself is merely an instrument. What this power looks like depends on how it is approached. Approached by Conrad’s Kurtz through his Antichrist psychosis, it is an unimaginable horror: but it may also be a source of energy that man can put to his own use. There are naturally considerable risks in trying to do so: risks that Rimbaud spoke of in his celebrated lettre du voyant as a “dérèglement de tous les sens.” The phrase indicates the close connection between the titanic and the demonic that Verlaine expressed in his phrase poète maudit, the attitude of poets who feel, like Ahab, that the right worship of the powers they invoke is defiance. "

Northrop Frye , Words with Power: Being a Second Study of the Bible and Literature