1
" It's not reasonable to love people who are only going to die," she said.Nash thought about that for a moment, stroking Small's neck with great deliberation, as if the fate of the Dells depended on that smooth, careful movement." I have two responses to that," He said at last. " First, everyone is going to die. Second, love is stupid. It has nothing to do with reason. You love whomever you love. Against all reason I loved my father." He looked at her keenly. " Did you love yours?" " Yes," she whispered.He stroked Small's nose. " I love you," he said, " even knowing you'll never have me. And I love my brother, more than I ever realized before you came along. You can't help whom you love, Lady. Nor can you know what it's liable to cause you to do. "
4
" It's not reasonable to love people who are only going to die," she said.Nash thought about that for a moment, stroking Small's neck with great deliberation, as if the fate of the Dells depended on that smooth, careful movement." I have two responses to that," he said finally. " First, everyone's going to die. Second, love is stupid. It has nothing to do with reason. You love whomever you love. Against all reasons I loved my father." He looked at her keenly. " Did you love yours?" " Yes," she whispered.He stroked Small's nose. " I love you," he said, " even knowing you'll never have me. And I love my brother, more than I ever realized before you came along. You can't help whom you love, Lady. Nor can you know what it's liable to cause you to do." She made a connection then. Surprised she sat back from him and studied his face, soft with shadows and light. She saw a part of him she hadn't seen before." You came to me for lessons to guard your mind," she said, " and you stopped asking me to marry you, both at the same time. You did those things out of love for your brother." " Well" he said, looking a bit sheepishly at the floor. " I also took a few swings at him, but that's neither here nor there." " You're good at love," she said simply, because it seemed to her that it was true. " I'm not so good at love. I'm like a barbed creature. I push everyone I love away." He shrugged. " I don't mind you pushing me away if it means you love me, little sister. "
5
" Imagination is not, as some poets have thought, simply synonymous with good. It may be either good or evil. As long as art remained primarily mimetic, the evil which imagination could do was limited by nature. Again, as long as it was treated as an amusement, the evil which it could do was limited in scope. But in an age when the connection between imagination and figuration is beginning to be dimly realized, when the fact of the directionally creator relation is beginning to break through into consciousness, both the good and the evil latent in the working of imagination begin to appear unlimited. We have seen in the Romantic movement an instance of the way in which the making of images may react upon the collective representations. It is a fairly rudimentary instance, but even so it has already gone beyond the dreams and responses of a leisured few. The economic and social structure of Switzerland is noticeably affected by its tourist industry, and that is due only in part to increased facilities of travel. It is due not less to the condition that (whatever may be said about their ‘particles’) the mountains which twentieth-century man sees are not the mountains which eighteenth-century man saw.
It may be objected that this is a very small matter, and that it will be a long time before the imagination of man substantially alters those appearances of nature with which his figuration supplies him. But then I am taking the long view. Even so, we need not be too confident. Even if the pace of change remained the same, one who is really sensitive to (for example) the difference between the medieval collective representations and our own will be aware that, without traveling any greater distance than we have come since the fourteenth century, we could very well move forward into a chaotically empty or fantastically hideous world. But the pace of change has not remained the same. It has accelerated and is accelerating.
We should remember this, when appraising the aberrations of the formally representational arts. Of course, in so far as these are due to affectation, they are of no importance. But in so far as they are genuine, they are genuine because the artist has in some way or other experienced the world he represents. And in so far as they are appreciated, they are appreciated by those who are themselves willing to make a move towards seeing the world in that way, and, ultimately therefore, seeing that kind of world. We should remember this, when we see pictures of a dog with six legs emerging from a vegetable marrow or a woman with a motorbicycle substituted for her left breast. "
― Owen Barfield