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1 " ...the priests of all these cults, the singers, shouters, prayers and exhorters of Bootstrap-lifting have as their distinguishing characteristic that they do very little lifting at their own bootstraps, and less at any other man's. Now and then you may see one bend and give a delicate tug, of a purely symbolical character: as when the Supreme Pontiff of the Roman Bootstrap-lifters comes once a year to wash the feet of the poor; or when the Sunday-school Superintendent of the Baptist Bootstrap-lifters shakes the hand of one of his Colorado mine-slaves. But for the most part the priests and preachers of Bootstrap-lifting walk haughtily erect, many of them being so swollen with prosperity that they could not reach their bootstraps if they wanted to. Their role in life is to exhort other men to more vigorous efforts at self-elevation, that the agents of the Wholesale Pickpockets' Association may ply their immemorial role with less chance of interference. "
― Upton Sinclair , The Profits of Religion
2 " Now, if we are made for heaven, the desire for our proper place will be already in us, but not yet attached to the true object, and will even appear as the rival of that object […] If a transtemporal, transfinite good is our real destiny, then any other good on which our desire fixes must be in some degree fallacious, must bear at best only a symbolical relation to what will truly satisfy. "
― C.S. Lewis , The Weight of Glory
3 " At the beginning of the war…I had to look in on the War Office, and in a room I found a fellow…What do you think he was doing…what the hell do you think he was doing? He was devising the ceremonial for the disbanding of a Kitchener battalion. You can’t say we were not prepared in one matter at least…. Well, the end of the show was to be: the adjutant would stand the battalion at ease; the band would play Land of Hope and Glory, and then the adjutant would say: There will be no more parades…. Don’t you see how symbolical it was—the band playing Land of Hope and Glory, and then the adjutant saying: There will be no more parades?…For there won’t. There won’t, there damn well won’t. No more Hope, no more Glory, no more parades for you and me any more. Nor for the country…nor for the world, I dare say… None… Gone… Napoo finny! No…more…parades! "
― Ford Madox Ford , Parade's End
4 " The very name of the genre itself - fairy tale - originated during this time, for the French writers coined the term conte de fee during the seventeenth century, and it has stuck to the genre in Europe and North America ever since. This " imprint" is important, because it reveals something crucial about the fairy tale that has remained part of its nature to the present. The early writers of fairy tales placed the power of metamorphosis in the hands of women - the redoubtable fairies. In addition, this miraculous power was not associated with a particular religion or mythology, through which the world was to be explained. It was a secular mysterious power of compassion that could not be explained, and it derived from the creative imagination of the writer. Anyone could call upon the fairies for help, and it is clear that the gifted French women writers of the seventeenth century preferred to address themselves to a fairy and to have a fairy resolve the conflicts in their tales rather than the Church, with its male-dominated hierarchy. After all, it was the Church that had eliminated hundreds of thousands of so-called female witches during the previous two centuries in an effort to curb heretical and nonconformist beliefs. However, those " pagan" notions survived in the tradition of the oral wonder tale and surfaced in published form in France when it became safer to introduce in a symbolical code supernatural powers and creatures other than those officially sanctioned by the Christian code. In short, there was something subversive about the institutionalization of the fairy tale in France during the 1690S, for it enabled writers to create a dialogue about norms, manners, and power that evaded court censorship and freed the fantasy of the writers and readers, while at the same time paying tribute to the French code of civilite and the majesty of the aristocracy. Once certain discursive paradigms and conventions were established, a writer could demonstrate his or her " genius" by rearranging, expanding, deepening, and playing with the known functions of a genre that, by 1715, had already formed a type of canon, which consisted not only of the great classical tales-" Cinderella," " Sleeping Beauty," " Rapunzel," " Rumpelstiltskin," " Puss in Boots," " Little Red Riding Hood," " Beauty and the Beast," " Blue beard, " " The Golden Dwarf," " The Blue Bird," and " The White Cat" -but also the mammoth collection The Arabian Nights. "
5 " Faith consists in being vitally concerned with that ultimate reality to which I give the symbolical name of God. Whoever reflects earnestly on the meaning of life is on the verge of an act of faith. "