3
" So, ‘sensation’ and ‘judgment’ have together lost their apparent clearness: we have observed that they were clear only as long as the prejudice in favour of the world was maintained. As soon as one tried by means of them, to picture consciousness in the process of perceiving, to revive the forgotten perceptual experience, and to relate them to it, they were found to be inconceivable. By dint of making these difficulties more explicit, we were drawn implicitly into a new kind of analysis, into a new dimension in which they were destined to disappear. The criticism of the constancy hypothesis and more generally the reduction of the idea of ‘the world’ opened up a *phenomenal field* which now has to be more accurately circumscribed, and suggested the rediscovery of direct experience which must be, at least provisionally, assigned its place in relation to scientific knowledge, and to psychological and philosophical reflection.”
—from_Phenomenology of Perception_. Translated by Colin Smith, p. 62 "
― Maurice Merleau-Ponty
4
" Terror is an artery. Running unfailing channels of bloodied thoroughfares by dint of the wilds beyond our knowing. Fluctuations and murmurs are audible within the splintered leeway of our preserve as a consequence of interstices modeled in such brutality. This appended artery offers no direction; idle and at times desultory. Bloodstained tracks and avenues guide casualties. Terror, like death, is not complicated, nor is it simple. It is but routine—natural. To call it otherwise is to parsimoniously say that birth is effortless, hurricanes are facile, and earthquakes are meek when they are a lot more.Myths, parables, and allegories lie in the construct of terror. Kings have fallen and succeeded in the yarns of terror. Simple men have been turned into heroes due to terror. Villains have been great orchestrators in the art of terror, allowing sole individuals and denizens to feel their makings. A soul never needed God to feel terror. The most nihilistic can undergo such a dreadful emotion. Animals are perfect examples of this. They are well-equipped creations to the world of terror and death, holding no cognizance to deity or creator.Terror is quite exclusive as it is a function of the mind, conducted by the intersections and throughways of nerves and bounded to that alone. Although it approaches with university, like hunger or sickness, it is selfish by fashion and segregating in nature. But death is quite opposite… death is all embracing. Disregarded and glossed over, it is never reserved or inaudible, especially if you listen hard enough.Death transmits a signal that can be discerned if you listen hard enough. Frail in birthing, the airing is not limited to the clairvoyant, though they are a standard audience. The most simple-minded can hear this. But they choose to ignore it for whatever grounds. Even in the obviousness of it when it comes in dream, awaking its public in night terrors and cold sweats, it should be heeded.In lurk of dark uncertainties the signal should be adhered in this societal horrific caprice.Death is a declaration waiting to broadcast the haunting awareness of our own deterrence.And within these pages is its proclamation. "
6
" Lark’s SongThat child who from Diana’s thought is bornA huntress swift, who doth the world adornWith strength and passion worthy of the GreenMay wax, and one day rise to be a queen.That child who in the eye of Phoebus growsOf visage fair, that none would dare opposeMay in her hand hold light and glory too,And to the Light hold sternly staunch and true.That child who with the face of Venus smiles,Will bear a heart of mischief and of wiles,And may in time love’s faithful bonds fulfilWhile bending lesser hearts unto her will.That child who with Athena’s grace doth moveMay to all eyes her worldly wisdom proveAnd make right wise and fulsome use thereofTo measure all who seek to win her love.That child who with grim Circe’s tongue foretells Enmeshing faithful hearts within her spellsBy dint of sly mendacity and guile,All innocence and virtue may defile.That child who by her cunning doth conniveMay by fair Tyche’s fortune wax and thriveAnd come in time to sit upon a throne;Or fail and fall, forsaken and alone.That child may choose to hark to glory’s callAnd shine in splendour, loved by one and all;Or cleave to darkness, hated and reviled:Chance crafts the fate of every fate-touched child. "
7
" We need the courage to create ourselves daily, to be bodacious enough to create ourselves daily — as Christians, as Jews, as Muslims, as thinking, caring, laughing, loving human beings. I think that the courage to confront evil and turn it by dint of will into something applicable to the development of our evolution, individually and collectively, is exciting, honorable. "
― Maya Angelou
11
" Marx was troubled by the question of why ancient Greek art retained an ‘eternal charm’, even though the social conditions which produced it had long passed; but how do we know that it will remain ‘eternally’ charming, since history has not yet ended? Let us imagine that by dint of some deft archaeological research we discovered a great deal more about what ancient Greek tragedy actually meant to its original audiences, recognized that these concerns were utterly remote from our own, and began to read the plays again in the light of this deepened knowledge. One result might be that we stopped enjoying them. We might come to see that we had enjoyed them previously because we were unwittingly reading them in the light of our own preoccupations; once this became less possible, the drama might cease to speak at all significantly to us.
The fact that we always interpret literary works to some extent in the light of our own concerns - indeed that in one sense of ‘our own concerns’ we are incapable of doing anything else - might be one reason why certain works of literature seem to retain their value across the centuries. It may be, of course, that we still share many preoccupations with the work itself; but it may also be that people have not actually been valuing the ‘same’ work at all, even though they may think they have. ‘Our’ Homer is not identical with the Homer of the Middle Ages, nor ‘our’ Shakespeare with that of his contemporaries; it is rather that different historical periods have constructed a ‘different’ Homer and Shakespeare for their own purposes, and found in these texts elements to value or devalue, though not necessarily the same ones. All literary works, in other words, are ‘rewritten’, if only unconsciously, by the societies which read them; indeed there is no reading of a work which is not also a ‘re-writing’. No work, and no current evaluation of it, can simply be extended to new groups of people without being changed, perhaps almost unrecognizably, in the process; and this is one reason why what counts as literature is a notably unstable affair. "
― Terry Eagleton , Literary Theory: An Introduction
12
" We extend our best wishes to you, inhabitants of another world.
After reading the following message, you should have a basic understanding of civilization on Earth. By dint of long toil and creativity, the human race has built a splendid civilization, blossoming with a multitude of diverse cultures. We have also begun to understand the laws governing the natural world and the development of human societies. We cherish all that we have accomplished.
But our world is still flawed. Hate exists, as does prejudice and war. Because of conflicts between the forces of production and the relations of production, wealth distribution is extremely uneven, and large portions of humanity live in poverty and misery.
Human societies are working hard to resolve the difficulties and problems they face, striving to create a better future for Earth civilization.The country that sent this message is engaged in this effort. We are dedicated to building an ideal society, where the labor and value of every member of the human race are fully respected, where everyone's material and spiritual needs are fully met, so that civilization on Earth may become more perfect.
With the best of intentions, we look forward to establishing contact with other civilized societies in the universe. We look forward to working together with you to build a better life in this vast universe. "
― Liu Cixin , The Three-Body Problem (Remembrance of Earth’s Past #1)
13
" You do not seem to realize that beauty is a liability rather
than
an asset - that in view of the fact that spirit creates form
we are justified in supposing
that you must have brains. For you, a symbol of the
unit, stiff and sharp,
conscious of surpassing by dint of native superiority and
liking for everything
self-dependent, anything an
ambitious civilization might produce: for you, unaided, to
attempt through sheer
reserve, to confuse presumptions resulting from
observation, is idle. You cannot make us
think you a delightful happen-so. But rose, if you are
brilliant, it
is not because your petals are the without-which-nothing
of pre-eminence. Would you not, minus
thorns, be a what-is-this, a mere
perculiarity? They are not proof against a worm, the
elements, or mildew;
but what about the predatory hand? What is brilliance
without co-ordination? Guarding the
infinitesimal pieces of your mind, compelling audience to
the remark that it is better to be forgotten than to be re-
membered too violently,
your thorns are the best part of you. "
― Marianne Moore
14
" Holding the lamb in his arms, Jesus watched the people file past, some coming, some going, some carrying animals to be sacrificed, some returning without them, looking joyful and exclaiming, Alleluia, Hosanna, Amen, or saying none of these things, feeling it was inappropriate to walk around shouting Hallelujah or Hip hip hurrah, because there is really not much difference between the two expressions, we use them enthusiastically until with the passage of time and by dint of repetition we finally ask ourselves, What does it mean, only to find there is no answer. "
― José Saramago , The Gospel According to Jesus Christ
