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requisite  QUOTES

25 " My theme is memory, that winged host that soared about me one grey morning of war-time.

These memories, which are my life--for we possess nothing certainly except the past--were always with me. Like the pigeons of St. Mark's, theywere everywhere, under my feet, singly, in pairs, in little honey-voiced congregations, nodding, strutting, winking, rolling the tender feathers of their necks, perching sometimes, if I stood still, on my shoulder or pecking a broken biscuit from between my lips; until, suddenly, the noon gun boomed and in a moment, with a flutter and sweep of wings, the pavement was bare and the whole sky above dark with a tumult of fowl. Thus it was that morning.

These memories are the memorials and pledges of the vital hours of a lifetime. These hours of afflatus in the human spirit, the springs of art, are, in their mystery, akin to the epochs of history, when a race which for centuries has lived content, unknown, behind its own frontiers, digging, eating, sleeping, begetting, doing what was requisite for survival and nothing else, will, for a generation or two, stupefy the world; commit all manner of crimes, perhaps; follow the wildest chimeras, go down in the end in agony, but leave behind a record of new heights scaled and new rewards won for all mankind; the vision fades, the soul sickens, and the routine of survival starts again.

The human soul enjoys these rare, classic periods, but, apart from them, we are seldom single or unique; we keep company in this world with a hoard of abstractions and reflections and counterfeits of ourselves -- the sensual man, the economic man, the man of reason, the beast, the machine and the sleep-walker, and heaven knows what besides, all in our own image, indistinguishable from ourselves to the outward eye. We get borne along, out of sight in the press, unresisting, till we get the chance to drop behind unnoticed, or to dodge down a side street, pause, breathe freely and take our bearings, or to push ahead, out-distance our shadows, lead them a dance, so that when at length they catch up with us, they look at one another askance, knowing we have a secret we shall never share. "

Evelyn Waugh , Brideshead Revisited

26 " Marvel comes quickly, cloaked in the mundane. It's the woman waking to the smell of smoke as fire spreads, miles away, through her brother's house. It's the sharp flash of recognition as a young man glimpses, in the ordinary hubbub, the stranger with whom he will share his life. It's a mother's dream of her baby, blue in the cold store, six months before he comes, stillborn, into the world.

Even the Church Fathers admitted the category of marvelous- or mirabilis, as they knew it. For them it was an irksome classification. A grey area.

Compare the marvel with it's less troublesome metaphysical kin. In the thirteenth century, the miracle reflected the steady-handed authorship of the divine- truth made manifest. Similarly magic, or magicus, demonstrated with tell-tale showmanship the desperate guile of the devil. The marvel, however, was of poor performance and tended, therefore, towards ambiguity. It took shape in the merely mortal sphere. It seemed to lack the requisite supernatural chutzpah. Here, the clergy were typically surplus to requirements.

Yet, if less outwardly compelling, the marvel was also less easily contained than either the miraculous or the magical. It remained more elusive. More stubborn. And if finally reducible in time, with the erosions of memory, to rationalization, anecdote, drinking tale or woman's lore, the marvel also rarely failed to leave behind a certain residual uncertainty. A discomfiting sense of possibility. Or, on bolder occasions, an appetite for wonder. "

Alison MacLeod , Wave Theory of Angels