
“Where God hath a temple, the Devil will have a chapel.”
Section 4, member 1, subsection 1.
The Anatomy of Melancholy (1621), Part III
Source: Hamlet
“Where God hath a temple, the Devil will have a chapel.”
Section 4, member 1, subsection 1.
The Anatomy of Melancholy (1621), Part III
“A witch is a person who hath conference with the Devil to consult with him or to do some act.”
Reported in Margaret Alice Murray, The Witch-Cult in Western Europe: A Study in Anthropology (2007) p. 18.
Attributed
“Death never excites such sympathy as it does when it assumes the shape of murder.”
Heath's book of Beauty, 1833 (1832)
“I rather like the World. The Flesh is pleasing and the Devil does not trouble me.”
Preface to Love Ballads of the Sixteenth Century (1897) http://books.google.com/books?id=hAiaEy_NVoEC&q="I+rather+like+the+world+The+flesh+is+pleasing+and+the+Devil+does+not+trouble+me"&pg=PA5#v=onepage.
Context: Most Authors cringe and flatter and Fish for compliments. If they fail to get Applause, they say the World is a Scurvy Place and those who dwell therein a Dirty Lot: if they succeed, they give thanks to Nobody, saying they got only what their Meritt entitles them to. But I rather like the World. The Flesh is pleasing and the Devil does not trouble me.
Source: Magical Record of the Beast 666: The Diaries of Aleister Crowley 1914-1920 (1972), p. 274
“Ideas change the world, but they do it by assuming shape, they do it by taking concrete form.”
Source: The New Party - (1961), Chapter 6, Structure, p. 60
Source: Magical Record of the Beast 666: The Diaries of Aleister Crowley 1914-1920 (1972), p. 266
“Death, that hath suck'd the honey of thy breath hath had no power yet upon thy beauty.”
Variant: O my love, my wife!
Death, that hath suck'd the honey of thy breath
Hath had no power yet upon thy beauty.
Source: Romeo and Juliet
The Myth of Sisyphus (1942), Absurd Creation
Context: A profound thought is in a constant state of becoming; it adopts the experience of a life and assumes its shape. Likewise, a man's sole creation is strengthened in its successive and multiple aspects: his works. One after another they complement one another, correct or overtake one another, contradict one another, too. If something brings creation to an end, it is not the victorious and illusory cry of the blinded artist: "I have said everything," but the death of the creator which closes his experiences and the book of his genius.
That effort, that superhuman consciousness are not necessarily apparent to the reader. There is no mystery in human creation. Will performs this miracle. But at least there is no true creation without a secret. To be true, a succession of works can be but a series of approximations of the same thought. But it is possible to conceive of another type of creator proceeding by juxtaposition. Their words may seem to be devoid of inter-relations, to a certain degree, they are contradictory. But viewed all together, they resume their natural grouping.