8
" See the exquisite contrast of the types of mind! The pragmatist clings to facts and concreteness, observes truth at its work in particular cases, and generalises. Truth, for him, becomes a class-name for all sorts of definite working-values in experience. For the rationalist it remains a pure abstraction, to the bare name of which we must defer. When the pragmatist undertakes to show in detail just why we must defer, the rationalist is unable to recognise the concretes from which his own abstraction is taken. He accuses us of denying truth; whereas we have only sought to trace exactly why people follow it and always ought to follow it. Your typical ultra-abstractions fairly shudders at concreteness: other things equal, he positively prefers the pale and spectral. If the two universes were offered, he would always choose the skinny outline rather than the rich thicket of reality. It is so much purer, clearer, nobler. "
― William James , Pragmatism and Other Writings
9
" Fear no more," said Clarissa. Fear no more the heat o' the sun; for the shock of Lady Bruton asking Richard to lunch without her made the moment in which she had stood shiver, as a plant on the river-bed feels the shock of a passing oar and shivers: so she rocked: so she shivered.Millicent Bruton, whose lunch parties were said to be extraordinarily amusing, had not asked her. No vulgar jealousy could separate her from Richard. But she feared time itself, and read on Lady Bruton's face, as if it had been a dial cut in impassive stone, the dwindling of life; how year by year her share was sliced; how little the margin that remained was capable any longer of stretching, of absorbing, as in the youthful years, the colours, salts, tones of existence, so that she filled the room she entered, and felt often as she stood hesitating one moment on the threshold of her drawing-room, an exquisite suspense, such as might stay a diver before plunging while the sea darkens and brightens beneath him, and the waves which threaten to break, but only gently split their surface, roll and conceal and encrust as they just turn over the weeds with pearl. "
12
" We have a long distance to travel,' said the Angel of Death to our friend Gil, as soon as they had left the Villa. 'I will order my chariot.' And he struck the ground with his foot. A hollow rumbling, like that which precedes an earthquake, sounded under the ground. Presently there rose round the two friends an ash-colored cloud of vapor, in the midst of which appeared a species of ivory chariot, resembling the chariots we see in the bas-reliefs of antiquity.A brief glance would have sufficed (we will not disguise the fact from out readers) to show that the chariot was not made of ivory, but solely and simply of human bones polished and joined together with exquisite skill, but retaining still their natural form.The Angel of Death gave his hand to Gil and they ascended the chariot, which rose into the air like the balloons of the present day, but with the difference that it was propelled by the will of its occupants. (" The Friend of Death" ) "
18
" How they are all about, these gentlemen
In chamberlains' apparel, stocked and laced,
Like night around their order's star and gem
And growing ever darker, stony-faced,
And these, their ladies, fragile, wan, but propped
High by their bodice, one hand loosely dropped,
Small like its collar, on the toy King-Charles:
How they surround each one of these who stopped
To read and contemplate the objects d'art,
Of which some pieces still are theirs, not ours.
Whit exquisite decorum they allow us
A life of whose dimensions we seem sure
And which they cannot grasp. They were alive
To bloom, that is be fair; we, to mature,
That is to be of darkness and to strive. "
― Rainer Maria Rilke , The Best of Rilke: 72 Form-true Verse Translations with Facing Originals, Commentary and Compact Biography
