8
" One day we took the children to see a goldsmith refine gold after the ancient manner of the East. He was sitting beside his little charcoal fire. (" He shall sit as a refiner" ; the gold- or silversmith never leaves his crucible once it is on the fire.) In the red glow lay a common curved roof tile; another tile covered it like a lid. This was the crucible. In it was the medicine made of salt, tamarind fruit and burnt brick dust, and imbedded in it was the gold. The medicine does its appointed work on the gold, " then the fire eats it," and the goldsmith lifts the gold out with a pair of tongs, lets it cool, rubs it between his fingers, and if not satisfied puts it back again in fresh medicine. This time he blows the fire hotter than it was before, and each time he puts the gold into the crucible, the heat of the fire is increased; " it could not bear it so hot at first, but it can bear it now; what would have destroyed it then helps it now." " How do you know when the gold is purified?" we asked him, and he answered, " When I can see my face in it [the liquid gold in the crucible] then it is pure. "
12
" I thought how lovely and how strange a river is. A river is a river, always there, and yet the water flowing through it is never the same water and is never still. It’s always changing and is always on the move. And over time the river itself changes too. It widens and deepens as it rubs and scours, gnaws and kneads, eats and bores its way through the land. Even the greatest rivers- the Nile and the Ganges, the Yangtze and he Mississippi, the Amazon and the great grey-green greasy Limpopo all set about with fever trees-must have been no more than trickles and flickering streams before they grew into mighty rivers.
Are people like that? I wondered. Am I like that? Always me, like the river itself, always flowing but always different, like the water flowing in the river, sometimes walking steadily along andante, sometimes surging over rapids furioso, sometimes meandering wit hardly any visible movement tranquilo, lento, ppp pianissimo, sometimes gurgling giacoso with pleasure, sometimes sparkling brillante in the sun, sometimes lacrimoso, sometimes appassionato, sometimes misterioso, sometimes pesante, sometimes legato, sometimes staccato, sometimes sospirando, sometimes vivace, and always, I hope, amoroso.
Do I change like a river, widening and deepening, eddying back on myself sometimes, bursting my banks sometimes when there’s too much water, too much life in me, and sometimes dried up from lack of rain? Will the I that is me grow and widen and deepen? Or will I stagnate and become an arid riverbed? Will I allow people to dam me up and confine me to wall so that I flow only where they want? Will I allow them to turn me into a canal to use for they own purposes? Or will I make sure I flow freely, coursing my way through the land and ploughing a valley of my own? "
― Aidan Chambers , This is All: The Pillow Book of Cordelia Kenn
15
" I am life,’ the girl said.
‘What?’ he said, startled.
‘To you, I am life. What are you, thirty-eight? Forty? What have you learned? Have you done anything? Look at me, look. I’m life and when you’re done with me, some of it rubs off on you. You don’t feel so old now, do you? With me here in the squib beside you.’
Nick said, ‘I’m thirty-four and I don’t feel old. As a matter of fact, sitting here with you makes me feel older, not younger. Nothing is rubbing off.’
‘It will,’ she said. "
― Philip K. Dick , Our Friends from Frolix 8
18
" Have you ever witnessed the anger of the good shopkeeper, James Goodfellow, when his careless son has happened to break a pane of glass? If you have been present at such a scene, you will most assuredly bear witness to the fact that every one of the spectators, were there even thirty of them, by common consent apparently, offered the unfortunate owner this invariable consolation – " It is an ill wind that blows nobody good. Everybody must live, and what would become of the glaziers if panes of glass were never broken?" Now, this form of condolence contains an entire theory, which it will be well to show up in this simple case, seeing that it is precisely the same as that which, unhappily, regulates the greater part of our economical institutions.Suppose it cost six francs to repair the damage, and you say that the accident brings six francs to the glazier's trade – that it encourages that trade to the amount of six francs – I grant it; I have not a word to say against it; you reason justly. The glazier comes, performs his task, receives his six francs, rubs his hands, and, in his heart, blesses the careless child. All this is that which is seen.But if, on the other hand, you come to the conclusion, as is too often the case, that it is a good thing to break windows, that it causes money to circulate, and that the encouragement of industry in general will be the result of it, you will oblige me to call out, " Stop there! Your theory is confined to that which is seen; it takes no account of that which is not seen." It is not seen that as our shopkeeper has spent six francs upon one thing, he cannot spend them upon another. It is not seen that if he had not had a window to replace, he would, perhaps, have replaced his old shoes, or added another book to his library. In short, he would have employed his six francs in some way, which this accident has prevented. "
19
" Time plays no role in the life of one man—the subtle consciousness of it floating past me is more than enough. Years, months, days, hours, minutes, seconds—what does it matter? Floating by, it rubs against my skin, face, and hair—wearing me down, yet polishing me all the while. Time is like fine grains of sand in a desert storm. At first, you don’t pay any attention to it, but the more it hits you in the face, the more aware of it you become, the more annoying it gets until, one day, you find yourself suffocating. The weight of it eventually bends your spine, until you are crawling on your hands and knees, unable to stand straight. Then comes the time to crawl back into the womb, crawl inside and wait for rebirth. "
― Henry Martin , Mad Days of Me: Eluding Reality
