1
" Only the middle distance and what may be called the remoter foreground are strictly human. When we look very near or very far, man either vanishes altogether or loses his primacy. The astronomer looks even further afield than the Sung painter and sees even less of human life. At the other end of the scale the physicist, the chemist, the physiologist pursue the close-up – the cellular close-up, the molecular, the atomic and subatomic. Of that which, at twenty feet, even at arm’s length, looked and sounded like a human being no trace remains.
Something analogous happens to the myopic artist and the happy lover. In the nuptial embrace personality is melted down; the individual (it is the recurrent theme of Lawrence’s poems and novels) ceases to be himself and becomes a part of the vast impersonal universe.
And so it is with the artist who chooses to use his eyes at the near point. In his work humanity loses its importance, even disappears completely. Instead of men and women playing their fantastic tricks before high heaven, we are asked to consider the lilies, to meditate on the unearthly beauty of ‘mere things,’ when isolated from their utilitarian context and rendered as they are, in and for themselves. Alternatively (or, at an earlier stage of artistic development, exclusively), the nonhuman world of the near-point is rendered in patterns. These patterns are abstracted for the most part from leaves and flowers – the rose, the lotus, the acanthus, palm, papyrus – and are elaborated, with recurrences and variations, into something transportingly reminisce "
― Aldous Huxley , The Doors of Perception
3
" There may be a theology without the Scriptures — a theology of nature, gathered by painful, and slow, and sometimes doubtful processes from what man sees around him in external nature and the course of history, and what he sees within him of nature and of grace. In like manner there may be and has been an astronomy of nature, gathered by man in his natural state without help from aught but his naked eyes, as he watched in the fields by night. But what is this astronomy of nature to the astronomy that has become possible through the wonderful appliances of our observatories? The Word of God is to theology as, but vastly more than, these instruments are to astronomy. It is the instrument which so far increases the possibilities of the science as to revolutionize it and to place it upon a height from which it can never more descend. What would be thought of the deluded man, who, discarding the new methods of research, should insist on acquiring all the astronomy which he would admit, from the unaided observation of his own myopic and astigmatic eyes? Much more deluded is he who, neglecting the instrument of God’s Word written, would confine his admissions of theological truth to what he could discover from the broken lights that play upon external nature, and the faint gleams of a dying or even a slowly reviving light, which arise in his own sinful soul. Ah, no! The telescope first made a real science of astronomy possible: and the Scriptures form the only sufficing source of theology. "
― Benjamin Breckinridge Warfield
10
" and I looked and looked at her, and knew as clearly as I know I am to die, that I loved her more than anything I had ever seen or imagined on earth, or hoped for anywhere else. She was only the faint violet whiff and dead leaf echo of the nymphet I had rolled myself upon with such cries in the past; an echo on the brink of a russet ravine, with a far wood under a white sky, and brown leaves choking the brook, and one last cricket in the crisp weeds... but thank God it was not that echo alone that I worshipped. What I used to pamper among the tangled vines of my heart, mon grand pch radieux, had dwindled to its essence: sterile and selfish vice, all that I cancelled and cursed. You may jeer at me, and threaten to clear the court, but until I am gagged and halfthrottled, I will shout my poor truth. I insist the world know how much I loved my Lolita, this Lolita, pale and polluted, and big with another’s child, but still gray-eyed, still sooty-lashed, still auburn and almond, still Carmencita, still mine; Changeons de vie, ma Carmen, allons vivre quelque, part o nous ne serons jamais spars; Ohio? The wilds of Massachusetts? No matter, even if those eyes of hers would fade to myopic fish, and her nipples swell and crack, and her lovely young velvety delicate delta be tainted and torneven then I would go mad with tenderness at the mere sight of your dear wan face, at the mere sound of your raucous young voice, my Lolita. "
― Vladimir Nabokov , Lolita
