4
" So, once again, back to the question - just what IS power?
Is it perhaps no more than a deadly mutation of ambition, one that may or may not translate into social activity? Any fool, any moron, any psychopath can aspire to the seizure and exercise of power, and of course the more psychopathic, the more efficient: Hitler, Pol Pot, Idi Amin, Sergeant Doe and the latest in the line of the unconscionably driven, our own lately departed General Sanni Abacha - all have proved that power, as long as you are sufficiently ruthless, amoral and manipulative, is within the grasp of even the mentally deficient. "
― Wole Soyinka , Climate of Fear: The Quest for Dignity in a Dehumanized World
6
" The twin aspects of genius, the passive and the active, are possessed by the fully realized artist; they also form the necessary equipment of the Adept. Yet in very few people are these twin aspects manifested. Nearly everyone has a capacity for the passive aspect, which involves some sort of appreciation of aesthetic values. There are few people totally unresponsive to the beauties of nature, and none at all that is not responsive to its ferocious manifestations.Fewer are able to respond profoundly to the beauty of natural phenomena, and fewer still to so-called works of art. It takes a degree of genius to respond to such manifestations the whole time. Artists in this category are among the saints, some of whom thrilled with rapture at the constant awareness of the total unity, harmony, and beauty of things.
Such were Boehme, Ramakrishna, etc. Some yogis are immersed in an unsullied and vibrant bliss derived from the incessant contemplation of this 'world-bewitching maya'4-the breath-taking wonder of the great and glamorous illusion which surrounds us.
On the other side of the fence, on the side of active or creative genius, there are yet fewer. Active or creative genius means nothing less than the ability to translate the wonder or the terror of the great lfla (the great play of life) in terms of visual, tactile, audible, olfactory, or some other sensual presentation of phenomena.
But there is a third aspect of genius which is yet more rare. It is the ability to open the door of the theatre and admit the influences from outside, from the swarming gulfs beyond the grasp of the mind, and accessible only to the magical entity whose fantastic feelers can snare the most fugitive impulses as they flash through the holes in space, the kinks in time, to be reflected in the magic mirror of the artist's mind. "
― Kenneth Grant , Outside the Circles Of Time
12
" It is the custom on the stage: in all good, murderous melodramas: to present the tragic and the comic scenes, in as regular alternation, as the layers of red and white in a side of streaky, well-cured bacon. The hero sinks upon his straw bed, weighed down by fetters and misfortunes; and, in the next scene, his faithful but unconscious squire regales the audience with a comic song. We behold, with throbbing bosoms, the heroine in the grasp of a proud and ruthless baron: her virtue and her life alike in danger; drawing forth a dagger to preserve the one at the cost of the other; and, just as our expectations are wrought up to the highest pitch, a whistle is heard: and we are straightway transported to the great hall of the castle: where a grey-headed seneschal sings a funny chorus with a funnier body of vassals, who are free of all sorts of places from church vaults to palaces, and roam about in company, carolling perpetually.
Such changes appear absurd; but they are not so unnatural as they would seem at first sight. The transitions in real life from well-spread boards to death-beds, and from mourning weeds to holiday garments, are not a whit less startling; only, there, we are busy actors, instead of passive lookers-on; which makes a vast difference. The actors in the mimic life of the theatre, are blind to violent transitions and abrupt impulses of passion or feeling, which, presented before the eyes of mere spectators, are at once condemned as outrageous and preposterous. "
― Charles Dickens , Oliver Twist
15
" The answer to the question raised in the title of this essay - Is salvation a matter of divine determination or human responsibility? - is not divine determination or human responsibility. The only thoroughly biblical answer is yes. Scripturally, it is not an 'either-or' but a 'both-and' proposition. Why is this so hard? For one thing, it is logically unsatisfactory and apparently contradictory. Our insatiable appetite for order and answers makes it difficult to admit...that God's ways are not our ways, and leave it at that. (Isaiah 55:9). We don't mind applying this principle in a general, hypothetical way to God's wisdom or methods. But we balk when interferes with our theological system, our obsession with pigeonholing every Bible fact into a neat, orderly arrangement that leaves no questions unanswered. God transcends our logic. He is supra-logical. His thinking, His design, His way, His theology is infinitely above our intellect, beyond the grasp of our comprehension, out of the reach of our clever rationalizations. God is theo-logical. Man is anthropo-logical. "