"Foreword" to Ken Wilber: Thought as Passion (2000) by Frank Visser
c. 1960
Source: 1960 - 1968, Dialogues – conversations with.., quotes, c. 1960, pp. 154-155
The Study of History (1895)
You [the artist] dictate to it.
Source: 1961 - 1975, Art Talk, conversations with 15 woman artists', (1975), pp. 24-25
Atómstöðin (The Atom Station) (1948)
ii., 76 a
Source: Isis Unveiled (1877), Volume II, Chapter VI
"Advertisement for Myself on the Way Out"
Advertisements for Myself (1959)
Ira Levinson, Chapter 17 Ira, p. 222-223
2009, The Longest Ride (2013)
Source: Creation Myths (1972), Deus Faber, p. 140 - 141
Consciousness Explained (1991)
"Casual Notes on the Mystery Novel" (essay, 1949), first published in Raymond Chandler Speaking (1962)
The Wreck
via Boing Boing http://boingboing.net/2016/04/14/the-story-of-traceroute-about.html
As quoted in Sai Baba: Man of Miracles (1977) by Howard Murphet, p. 208
“Enchantress of the stormy seas,
Priestess of Night's high mysteries.”
Moonrise in May.
Bartlett's Familiar Quotations, 10th ed. (1919)
On Chopin's Preludes in Histoire de Ma Vie (1902-04), Vo. IV, p. 439
Context: It was there he composed these most beautiful of short pages which he modestly entitled the Preludes. They are masterpieces. Several bring to mind visions of deceased monks and the sound of funeral chants; others are melancholy and fragrant; they came to him in times of sun and health, in the clamor of laughing children under he window, the faraway sound of guitars, birdsongs from the moist leaves, in the sight of the small pale roses coming in bloom on the snow. … Still others are of a mournful sadness, and while charming your ear, they break your heart. There is one that came to him through an evening of dismal rain — it casts the soul into a terrible dejection. Maurice and I had left him in good health one morning to go shopping in Palma for things we needed at out "encampment." The rain came in overflowing torrents. We made three leagues in six hours, only to return in the middle of a flood. We got back in absolute dark, shoeless, having been abandoned by our driver to cross unheard of perils. We hurried, knowing how our sick one would worry. Indeed he had, but now was as though congealed in a kind of quiet desperation, and, weeping, he was playing his wonderful Prelude. Seeing us come in, he got up with a cry, then said with a bewildered air and a strange tone, "Ah, I was sure that you were dead." When he recovered his spirits and saw the state we were in, he was ill, picturing the dangers we had been through, but he confessed to me that while waiting for us he had seen it all in a dream, and no longer distinguished the dream from reality, he became calm and drowsy while playing the piano, persuaded that he was dead himself. He saw himself drowned in a lake. Heavy drops of icy water fell in a regular rhythm on his breast, and when I made him listen to the sound of the drops of water indeed falling in rhythm on the roof, he denied having heard it. He was even angry that I should intepret this in terms of imitative sounds. He protested with all his might — and he was right to — against the childishness of such aural imitations. His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in musical thought, and not through slavish imitation of the actual external sounds. His composition of that night was surely filled with raindrops, resounding clearly on the tiles of the Charterhouse, but it had been transformed in his imagination and in his song into tears falling upon his heart from the sky. … The gift of Chopin is [the expression of] the deepest and fullest feelings and emotions that have ever existed. He made a single instrument speak a language of infinity. He could often sum up, in ten lines that a child could play, poems of a boundless exaltation, dramas of unequalled power.
“The pure air
is cleansed of lingering lees
And mysteriously,
Heaven's realms are high.”
Written on the Ninth Day of the Ninth Month of the Year yi-yu (A.D. 409)
Translated by William Acker
Context: Slowly, slowly,
the autumn draws to its close.
Cruelly cold
the wind congeals the dew.
Vines and grasses
will not be green again—
The trees in my garden
are withering forlorn.
The pure air
is cleansed of lingering lees
And mysteriously,
Heaven's realms are high.
Nothing is left
of the spent cicada's song,
A flock of geese
goes crying down the sky.
The myriad transformations
unravel one another
And human life
how should it not be hard?
From ancient times
there was none but had to die,
Remembering this
scorches my very heart.
What is there I can do
to assuage this mood?
Only enjoy myself
drinking my unstrained wine.
I do not know
about a thousand years,
Rather let me make
this morning last forever.
More Worlds Than One: The Creed of the Philosopher and the Hope of the Christian (1856), p. 132
Context: Truths physical have an- origin as divine as truths religious, In the time of Galileo they triumphed over the casuistry and secular power of the Church; and in our own day the incontrovertible truths of primeval life have won as noble a victory over the errors of a speculative theology, and a false interpretation of the word of God. Science ever has been, and ever must be the safeguard of religion. The grandeur of her truths may transcend our failing reason, but those who cherish and lean upon truths equally grand, but certainly more incomprehensible, ought to see in the marvels of the material world the best defence and illustration of the mysteries of their faith.
On life
Context: Otherwise, I know I’m often wasting my breath and electronic ink saying this, but the “real-world” is a pretty weird place where lots of inexplicable things happen all the time, and I like to catch the flavor of that too. It just seems more modern and authentic to me as a storyteller. The “real world” doesn’t come with the neat three-act structures and resolutions we love to impose on it, and if repeated doses of movie and TV-storytelling have convinced anyone that it does, it‘s time to get out and about a bit. The real world is filled with ghost stories, non sequiturs, inexplicable mysteries, dead ends and absurdities, and I think it’s cool to season our comfortable fictions with at least a little taste of what actual reality is like. http://www.newsarama.com/comics/060904-Grant-Batman.html
“That's the harm in mystery, all you know is what you see.”
"I Got No Idols"
Become What You Are (1993)
Context: p>I'm a goddess in your eyes, and I will never die.
I was born of people's needs, and what they don't wanna believe.
But I am a liar, that's the truth, go home and think it through.
That's the harm in mystery, all you know is what you see.I got no idols.</p
The Efficacy of Prayer (1958)
Context: Prayer is not a machine. It is not magic. It is not advice offered to God. Our act, when we pray, must not, any more than all our other acts, be separated from the continuous act of God Himself, in which alone all finite causes operate. It would be even worse to think of those who get what they pray for as a sort of court favorites, people who have influence with the throne. The refused prayer of Christ in Gethsemane is answer enough to that. And I dare not leave out the hard saying which I once heard from an experienced Christian: “I have seen many striking answers to prayer and more than one that I thought miraculous. But they usually come at the beginning: before conversion, or soon after it. As the Christian life proceeds, they tend to be rarer. The refusals, too, are not only more frequent; they become more unmistakable, more emphatic.” Does God then forsake just those who serve Him best? Well, He who served Him best of all said, near His tortured death, “Why hast thou forsaken me?” When God becomes man, that Man, of all others, is least comforted by God, at His greatest need. There is a mystery here which, even if I had the power, I might not have the courage to explore. Meanwhile, little people like you and me, if our prayers are sometimes granted, beyond all hope and probability, had better not draw hasty conclusions to our own advantage. If we were stronger, we might be less tenderly treated. If we were braver, we might be sent, with far less help, to defend far more desperate posts in the great battle.
6:10 - 20 (KJV) https://www.biblegateway.com/passage/?search=Ephesians+6&version=KJV;SBLGNT
Variant translation:
Finally, be strong in the Lord and in his mighty power. Put on the full armor of God so that you can take your stand against the devil's schemes. For our struggle is not against flesh and blood, but against the rulers, against the authorities, against the powers of this dark world and against the spiritual forces of evil in the heavenly realms. Therefore put on the full armor of God, so that when the day of evil comes, you may be able to stand your ground, and after you have done everything, to stand. Stand firm then, with the belt of truth buckled around your waist, with the breastplate of righteousness in place, and with your feet fitted with the readiness that comes from the gospel of peace. In addition to all this, take up the shield of faith, with which you can extinguish all the flaming arrows of the evil one. Take the helmet of salvation and the sword of the Spirit, which is the word of God. And pray in the Spirit on all occasions with all kinds of prayers and requests. With this in mind, be alert and always keep on praying for all the saints. Pray also for me, that whenever I open my mouth, words may be given me so that I will fearlessly make known the mystery of the gospel, for which I am an ambassador in chains. Pray that I may declare it fearlessly, as I should.
Epistle to the Ephesians
Context: Finally, my brethren, be strong in the Lord, and in the power of his might. Put on the whole armour of God, that ye may be able to stand against the wiles of the devil. For we wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places. Wherefore take unto you the whole armour of God, that ye may be able to withstand in the evil day, and having done all, to stand.
Stand therefore, having your loins girt about with truth, and having on the breastplate of righteousness; And your feet shod with the preparation of the gospel of peace; Above all, taking the shield of faith, wherewith ye shall be able to quench all the fiery darts of the wicked. And take the helmet of salvation, and the sword of the Spirit, which is the word of God: Praying always with all prayer and supplication in the Spirit, and watching thereunto with all perseverance and supplication for all saints; And for me, that utterance may be given unto me, that I may open my mouth boldly, to make known the mystery of the gospel, For which I am an ambassador in bonds: that therein I may speak boldly, as I ought to speak.
Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 104-105
“We know we are approaching the greatest of mysteries.”
Source: Cosmos (1980), p. 4
Context: The Cosmos is all that is or ever was or ever will be. Our feeblest contemplations of the Cosmos stir us — there is a tingling in the spine, a catch in the voice, a faint sensation as if a distant memory, of falling from a height. We know we are approaching the greatest of mysteries.
"Thoughts During An Air Raid"
The Still Centre (1939)
Context: Yet supposing that a bomb should dive
Its nose right through this bed, with me upon it?
The thought is obscene. Still, there are many
To whom my death would only be a name,
One figure in a column. The essential is
That all the 'I's should remain separate
Propped up under flowers, and no one suffer
For his neighbour. Then horror is postponed
For everyone until it settles on him
And drags him to that incommunicable grief
Which is all mystery or nothing.
"Classical and Baroque Sex in Everyday Life" (1979), Beginning To See the Light: Pieces of a Decade (1981)
Context: There are two kinds of sex, classical and baroque. Classical sex is romantic, profound, serious, emotional, moral, mysterious, spontaneous, abandoned, focused on a particular person, and stereotypically feminine. Baroque sex is pop, playful, funny, experimental, conscious, deliberate, amoral, anonymous, focused on sensation for sensation's sake, and stereotypically masculine. The classical mentality taken to an extreme is sentimental and finally puritanical; the baroque mentality taken to an extreme is pornographic and finally obscene. Ideally, a sexual relation ought to create a satisfying tension between the two modes (a baroque idea, particularly if the tension is ironic) or else blend them so well that the distinction disappears (a classical aspiration).
Science and Immortality (1904)
Context: Though his philosophy finds nothing to support it, at least from the standpoint of Terence the scientific student should be ready to acknowledge the value of a belief in a hereafter as an asset in human life. In the presence of so many mysteries which have been unveiled, in the presence of so many yet unsolved, he cannot be dogmatic and deny the possibility of a future state; and however distressing such a negative attitude of mind to the Teresian, like Pyrrho, he will ask to be left, reserving his judgement, but still inquiring. He will recognize that amid the turbid ebb and flow of human misery, a belief in the resurrection of the dead and the life of the world to come is the rock of safety to which many of the noblest of his fellows have clung; he will gratefully accept the incalculable comfort of such a belief to those sorrowing for precious friends hid in death's dateless night; he will acknowledge with gratitude and reverence the service to humanity of the great souls who have departed this life in a sure and certain hope but this is all. Whether across death's threshold we step from life to life, or whether we go whence we shall not return, even to the land of darkness, as darkness itself, he cannot tell.
As quoted in "Vertex Interviews Philip K. Dick" by Arthur Byron Cover, in Vertex, Vol. 1, no. 6 (February 1974) http://2010philipkdickfans.philipkdickfans.com/frank/vertexin.htm
Context: I started reading SF when I was about twelve and I read all I could, so any author who was writing about that time, I read. But there's no doubt who got me off originally and that was A. E. van Vogt. There was in van Vogt's writing a mysterious quality, and this was especially true in The World of Null A. All the parts of that book did not add up; all the ingredients did not make a coherency. Now some people are put off by that. They think that's sloppy and wrong, but the thing that fascinated me so much was that this resembled reality more than anybody else's writing inside or outside science fiction. … reality really is a mess, and yet it's exciting. The basic thing is, how frightened are you of chaos? And how happy are you with order? Van Vogt influenced me so much because he made me appreciate a mysterious chaotic quality in the universe which is not to be feared.
“Scientifically speaking, a butterfly is at least as mysterious as a superstring.”
Source: Infinite in All Directions (1988), Ch. 2 : Butterflies and Superstrings, p. 14
Context: Scientifically speaking, a butterfly is at least as mysterious as a superstring. When something ceases to be mysterious it ceases to be of absorbing interest to scientists. Almost all things scientists think and dream about are mysterious.
“A part is greater than the whole;
By hints are mysteries told.”
Poems (1869), A Strip of Blue (1870)
Context: A part is greater than the whole;
By hints are mysteries told.
The fringes of eternity, —
God's sweeping garment-fold,
In that bright shred of glittering sea,
I reach out for and hold.
“Their hearts swelled with its beauty, its mystery. With all it revealed, and all that it hid.”
Part Two: The Lost Music, "The Touchstone" p. 507
The Little Country (1991)
Context: They stood and listened, arms around each other for comfort, as the sound washed over them. It reverberated in the marrow of their bones, sung high and sweet, heartbreakingly mournful, quick as a jig, slow as the saddest air. Their hearts swelled with its beauty, its mystery. With all it revealed, and all that it hid.
Source: Flatland: A Romance of Many Dimensions (1884), PART I: THIS WORLD, Chapter 11. Concerning our Priests
Context: p>With us, our Priests are Administrators of all Business, Art, and Science; Directors of Trade, Commerce, Generalship, Architecture, Engineering, Education, Statesmanship, Legislature, Morality, Theology; doing nothing themselves, they are the Causes of everything worth doing, that is done by others.Although popularly everyone called a Circle is deemed a Circle, yet among the better educated Classes it is known that no Circle is really a Circle, but only a Polygon with a very large number of very small sides. As the number of the sides increases, a Polygon approximates to a Circle; and, when the number is very great indeed, say for example three or four hundred, it is extremely difficult for the most delicate touch to feel any polygonal angles. Let me say rather, it WOULD be difficult: for, as I have shown above, Recognition by Feeling is unknown among the highest society, and to FEEL a Circle would be considered a most audacious insult. This habit of abstention from Feeling in the best society enables a Circle the more easily to sustain the veil of mystery in which, from his earliest years, he is wont to enwrap the exact nature of his Perimeter or Circumference.</p
First published in the "Movie Answer Man" column (25 July 2004) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20040725/ANSWERMAN/407250305
Context: Many moviegoers and video viewers say they do not "like" black and white films. In my opinion, they are cutting themselves off from much of the mystery and beauty of the movies.
Black and white is an artistic choice, a medium that has strengths and traditions, especially in its use of light and shadow. Moviegoers of course have the right to dislike b&w, but it is not something they should be proud of. It reveals them, frankly, as cinematically illiterate.
I have been described as a snob on this issue. But snobs exclude; they do not include. To exclude b&w from your choices is an admission that you have a closed mind, a limited imagination, or are lacking in taste.
Source: Way Station (1963), Ch. 18
Context: Hank Fisher would tell how he'd tried to break into the house and couldn't and there'd be others who would try to break into the house and there'd be hell to pay.
Enoch sweated, thinking of it.
All the years of keeping out of people's way, all the years of being unobtrusive would be for nothing then. This strange house upon a lonely ridge would become a mystery for the world, and a challenge and a target for all the crackpots of the world.
Volume 1, Introduction.
The Greek Myths (1955)
Context: Ancient Europe had no gods. The Great Goddess was regarded as immortal, changeless, and omnipotent; and the concept of fatherhood had not been introduced into religious thought. She took lovers, but for pleasure, not to provide her children with a father. Men feared, adored, and obeyed the matriarch; the hearth which she tended in a cave or hut being their earliest social centre, and motherhood their prime mystery.
Cosmos: A Personal Voyage (1990 Update), "The Edge of Forever" [Episode 10]
Context: But we don't yet know whether the Universe is open or closed. More than that, there are a few astronomers who doubt that the redshift of distant galaxies is due to the doppler effect, who are skeptical of the expanding Universe and the Big Bang. Perhaps our descendants will regard our present ignorance with as much sympathy as we feel to the ancients for not knowing the Earth went around the Sun. If the general picture, however, of a Big Bang followed by an expanding Universe is correct, what happened before that? Was the Universe devoid of all matter and then the matter suddenly somehow created, how did that happen? In many cultures, the customary answer is that a God or Gods created the Universe out of nothing. But if we wish to pursue this question courageously, we must of course ask the next question: where did God come from? If we decide that this is an unanswerable question, why not save a step and conclude that the origin of the Universe is an unanswerable question? Or, if we say that God always existed, why not save a step, and conclude that the Universe always existed? That there's no need for a creation, it was always here. These are not easy questions. Cosmology brings us face to face with the deepest mysteries, questions that were once treated only in religion and myth.
“Mystery: Time and Tide shall pass,
I am the Wisdom Looking-Glass.”
Part III : The Mystic Ruby
The Flower of Old Japan and Other Poems (1907), The Flower of Old Japan
Context: p>Mystery: Time and Tide shall pass,
I am the Wisdom Looking-Glass.This is the Ruby none can touch:
Many have loved it overmuch;
Its fathomless fires flutter and sigh,
Being as images of the flame
That shall make earth and heaven the same
When the fire of the end reddens the sky,
And the world consumes like a burning pall,
Till where there is nothing, there is all.</p
Emotion should never dictate policy https://web.archive.org/web/20120119215614/http://www.ronpaularchive.com/1998/01/emotion-should-never-dictate-policy/ (January 12, 1998).
Press conference regarding the impeachment of President Clinton, 1998.
1990s
Context: In the emotion of the moment, people often say and do reckless things. For the individual, that can have deep ramifications. But when it is a single individual acting unreasonably in the throes of emotion in the face of sorrow, then the consequences are borne by only that person and his family. But when the government behaves recklessly in response to a tragedy, the consequences can be felt by everyone. This is especially true when politicians get in on the act. We can think back no further than July of 1996, when a plane carrying several hundred people suddenly and mysteriously crashed off the coast of Long Island. Within days, Congress had passed emergency legislation calling for costly new security measures, including a controversial “screening” method which calls for airlines to arbitrarily detain passengers just because the person meets certain criteria which border on racist and xenophobic.
Source: In My Own Way: An Autobiography 1915-1965 (1972), p. 61
Manuel, in Ch. XXXIX : The Passing of Manuel
Figures of Earth (1921)
Context: I seem to see only the strivings of an ape reft of his tail, and grown rusty at climbing, who has reeled blunderingly from mystery to mystery, with pathetic makeshifts, not understanding anything, greedy in all desires, and always honeycombed with poltroonery. So in a secret place his youth was put away in exchange for a prize that was hardly worth the having; and the fine geas which his mother laid upon him was exchanged for the common geas of what seems expected.
Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 422.
Context: The mysteries of the Bible should teach us, at one and the same time, our nothingness and our greatness; producing humility, and animating hope. I bow before these mysteries. I knew that I should find them, and I pretend not to remove them. But whilst I thus prostrate myself, it is with deep gladness and exultation of spirit. God would not have hinted the mystery, had He not hereafter designed to explain it. And, therefore, are my thoughts on a far-off home, and rich things are around me, and the voices of many harpers, and the shinings of bright constellations, and the clusters of the cherub and the seraph; and a whisper, which seems not of this earth, is circulating through the soul, " Now we see through a glass darkly, but then face to face; now I know in part, but then shall I know even as also I am known."
Source: The Book of Nothing (2009), chapter nought "Nothingology—Flying to Nowhere"<!-- p. 11-->
Journal Intime (1882), Quotes used in the Introduction by Ward
Context: I am a spectator, so to speak, of the molecular whirlwind which men call individual life; I am conscious of an incessant metamorphosis, an irresistible movement of existence, which is going on within me — and this phenomenology of myself serves as a window opened upon the mystery of the world. I am, or rather my sensible consciousness is, concentrated upon this ideal standing-point, this invisible threshold, as it were, whence one hears the impetuous passage of time, rushing and foaming as it flows out into the changeless ocean of eternity. After all the bewildering distractions of life — after having drowned myself in a multiplicity of trifles and in the caprices of this fugitive existence, yet without ever attaining to self-intoxication or self-delusion — I come again upon the fathomless abyss, the silent and melancholy cavern, where dwell 'Die Mütter,' where sleeps that which neither lives nor dies, which has neither movement nor change, nor extension, nor form, and which lasts when all else passes away.
Looking for an Honest Man (2009)
Context: Diogenes … refuses to be taken in by complacent popular belief that we already know human goodness from our daily experience, or by confident professorial claims that we can capture the mystery of our humanity in definitions. But mocking or not, and perhaps speaking better than he knew, Diogenes gave elegantly simple expression to the humanist quest for self-knowledge: I seek the human being — my human being, your human being, our humanity. In fact, the embellished version of Diogenes' question comes to the same thing: To seek an honest man is, at once, to seek a human being worthy of the name, an honest-to-goodness exemplar of the idea of humanity, a truthful and truth-speaking embodiment of the animal having the power of articulate speech.
"Myth and Archetype in Science Fiction" (1976)
Context: True myth may serve for thousands of years as an inexhaustible source of intellectual speculation, religious joy, ethical inquiry, and artistic renewal. The real mystery is not destroyed by reason. The fake one is. You look at it and it vanishes. You look at the Blond Hero — really look — and he turns into a gerbil. But you look at Apollo, and he looks back at you. The poet Rilke looked at a statue of Apollo about fifty years ago, and Apollo spoke to him. “You must change your life,” he said. When true myth rises into consciousness, that is always its message. You must change your life.
As quoted by Sir William Osler in his introduction to The Life of Pasteur (1907) by Rene Vallery-Radot, as translated by R .L. Devonshire (1923)
Discours de réception de Louis Pasteur (1882)
Context: He who proclaims the existence of the Infinite, and none can avoid it — accumulates in that affirmation more of the supernatural than is to be found in all the miracles of all the religions; for the notion of the Infinite presents that double character that forces itself upon us and yet is incomprehensible. When this notion seizes upon our understanding we can but kneel... I see everywhere the inevitable expression of the Infinite in the world; through it the supernatural is at the bottom of every heart. The idea of God is a form of the idea of the Infinite. As long as the mystery of the infinite weighs on human thought, temples will be erected for the worship of the Infinite, whether God is called Brahma, Allah, Jehovah, or Jesus; and on the pavement of these temples, men will be seen kneeling, prostrated, annihilated by the thought of the Infinite.
Preface to Collected Poems (1913)
Context: When I first discovered for myself how near was the King in His beauty I thought I would be the singer of the happiest songs. Forgive me, Spirit of my spirit, for this, that I have found it easier to read the mystery told in tears and understood Thee better in sorrow than in joy; that, though I would not, I have made the way seem thorny, and have wandered in too many byways, imagining myself into moods which held Thee not. I should have parted the true from the false, but I have not yet passed away from myself who am in the words of this book. Time is a swift winnower, and that he will do quickly for me.
Parrots, the Universe and Everything (2001)
Context: For us, there is no longer a fundamental mystery about Life. It is all the process of extraordinary eruptions of information, and it is information which gives us this fantastically rich, complex world in which we live; but at the same time that we've discovered that we are destroying it at a rate that has no precedent in history, unless you go back to the point when we are hit by an asteroid!
A Poets View (1984)
Context: Acknowledgement, and celebration, of mystery probably constitutes the most consistent theme of my poetry from its very beginnings. Because it is a matter of which I am conscious, it is possible, however imprecisely, to call it an intellectual position; but it is one which emphasizes the incapacity of reason alone (much though I delight in elegant logic) to comprehend experience, and considers Imagination the chief of human faculties. It must therefore be by the exercise of that faculty that one moves toward faith, and possibly by its failure that one rejects it as delusion. Poems present their testimony as circumstantial evidences, not as closing argument. Where Wallace Stevens says, "God and the imagination are one," I would say that the imagination, which synergizes intellect, emotion and instinct, is the perceptive organ through which it is possible, though not inevitable, to experience God.
To Mary Boyle, reported in Bartlett's Familiar Quotations, 10th ed. (1919)
The Epistle to the Romans (1918; 1921)
Context: The revelation in Jesus, just because it is the revelation of the righteousness of God is at the same time the strongest conceivable veiling and unknowableness of God. In Jesus, God really becomes a mystery, makes himself known as the unknown, speaks as the eternally Silent One.<!-- p. 73
Prelude
Middlemarch (1871)
Context: Who that cares much to know the history of man, and how the mysterious mixture behaves under the varying experiments of Time, has not dwelt, at least briefly, on the life of Saint Theresa, has not smiled with some gentleness at the thought of the little girl walking forth one morning hand-in-hand with her still smaller brother, to go and seek martyrdom in the country of the Moors? Out they toddled from rugged Avila, wide-eyed and helpless-looking as two fawns, but with human hearts, already beating to a national idea; until domestic reality met them in the shape of uncles, and turned them back from their great resolve. That child-pilgrimage was a fit beginning. Theresa's passionate, ideal nature demanded an epic life: what were many-volumed romances of chivalry and the social conquests of a brilliant girl to her? Her flame quickly burned up that light fuel; and, fed from within, soared after some illimitable satisfaction, some object which would never justify weariness, which would reconcile self-despair with the rapturous consciousness of life beyond self. She found her epos in the reform of a religious order.
Card II : The High Priestess
The Symbolism of the Tarot (1913)
Context: Then the woman turned her face to me and looked into my eyes without speaking. And through me passed a thrill, mysterious and penetrating like a golden wave; tones vibrated in my brain, a flame was in my heart, and I understood that she spoke to me, saying without words:
"This is the Hall of Wisdom. No one can reveal it, no one can hide it. Like a flower it must grow and bloom in thy soul. If thou wouldst plant the seed of this flower in thy soul — learn to discern the real from the false. Listen only to the Voice that is soundless... Look only on that which is invisible, and remember that in thee thyself, is the Temple and the gate to it, and the mystery, and the initiation."
“God works in mysterious, inefficient, and breathtakingly cruel ways.”
This statement is a rebuke to the famous assertion by William Cowper: "God moves in a mysterious way, His wonders to perform He plants his footsteps in the sea, And rides upon the storm."
2000s
Context: It's fair to say that the Bible contains equal amounts of fact, history, and pizza. … God works in mysterious, inefficient, and breathtakingly cruel ways.
Science and Immortality (1904)
Context: The search of science for the spirits has been neither long nor earnest; nor is it a matter of surprise that it has not been undertaken earlier by men whose training had fitted them for the work.
It is no clear, vasty deep, but a muddy, Acheronian pool in which our modern spirits dwell, with Circe as the presiding deity and the Witch of Endor as her high priestess. Commingling with the solemn incantations of the devotees who throng the banks, one can hear the mocking laughter of Puck and of Ariel, as they play among the sedges and sing the monotonous refrain, "What fools these mortals be!" Sadly besmirched, and more fitted for a sojourn in Ancyra than in Athens, has been the condition of those who have returned from the quest, and we cannot wonder that scientific men have hesitated to stir the pool and risk a touch from Circe's wand. All the more honour to those who have with honest effort striven to pierce the veil and explore the mysteries which lie behind it.
"The Making of a Scientist," p. 11: video http://www.youtube.com/watch?v=NEwUwWh5Xs4&t=26s
What Do You Care What Other People Think? (1988)
Context: I have a friend who's an artist, and he sometimes takes a view which I don't agree with. He'll hold up a flower and say, "Look how beautiful it is," and I'll agree. But then he'll say, "I, as an artist, can see how beautiful a flower is. But you, as a scientist, take it all apart and it becomes dull." I think he's kind of nutty. … There are all kinds of interesting questions that come from a knowledge of science, which only adds to the excitement and mystery and awe of a flower. It only adds. I don't understand how it subtracts.
Source: Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry (1871), Ch. XXII : Grand Master Architect, p. 191
Context: Life is no negative, or superficial or worldly existence. Our steps are evermore haunted with thoughts, far beyond their own range, which some have regarded as the reminiscences of a preesistent state. So it is with us all, in the beaten and worn track of this worldly pilgrimage. There is more here, than the world we live in. It is not all of life to live. An unseen and infinite presence is here; a sense of something greater than we possess; a seeking, through all the void wastes of life, for a good beyond it; a crying out of the heart for interpretation; a memory of the dead, touching continually some vibrating thread in this great tissue of mystery.
The Crosswicks Journal, The Irrational Season (1977)
Context: No long-term marriage is made easily, and there have been times when I've been so angry or so hurt that I thought my love would never recover. And then, in the midst of near despair, something has happened beneath the surface. A bright little flashing fish of hope has flicked silver fins and the water is bright and suddenly I am returned to a state of love again — till next time. I've learned that there will always be a next time, and that I will submerge in darkness and misery, but that I won't stay submerged. And each time something has been learned under the waters; something has been gained; and a new kind of love has grown. The best I can ask for is that this love, which has been built on countless failures, will continue to grow. I can say no more than that this is mystery, and gift, and that somehow or other, through grace, our failures can be redeemed and blessed.
"The Painter in the Press", X magazine, Vol. I, No.4 (October 1960).
Context: Art on the other hand speaks to us of resignation and rejoicing in reality, and does so through a transformation of our experience of the world into an order wherein all facts become joyous; the more terrible the material the greater the artistic triumph. This has nothing at all to do with "a constant awareness of the problems of our time" or any other vague public concern. It is a transformation that is mysterious, personal and ethical. And the moral effect of art is only interesting when considered in the particular. For it is always the reality of the particular that provides the occasion and the spring of art — it is always "those particular trees/ that caught you in their mysteries" or the experience of some loved object. Not that the matter rests here. It is the transcendent imagination working on this material that releases the mysterious energies which move and speak of deepest existence.
Sermons
Context: When the spirit looks within, to the Spirit of God, from the ground of the heart,
where man, empty and bare of all works, seeks God only,
far above all thoughts, works and reason,
it is truly a thorough conversion, which will ever be met with a corresponding reward,
and God will be with him.
Another conversion may take place in an ordinary external way, whenever man turns to God,
thinking wholly and entirely of Him,
and of nothing else but of God for Himself and in Himself.
But the first turning is in an inner, undefined, unknown presence,
in an immaterial entrance of the created spirit into the uncreated Spirit of God.
If a man could only once in his life thus turn to God, it would be well for him.
Those [[File:Antennae galaxies xl. jpg|154px|thumb|He draws them so mysteriously unto Himself and His own blessedness;
their spirits are so lovingly attracted, while they are at the same time so filled and transfused with the Godhead,
that they lose all their diversity in the Unity of the Godhead]] men whose God is so powerful, and Who has been so faithful to them in all their distress,
will be answered by God with Himself.
He draws them so mysteriously unto Himself and His own blessedness;
their spirits are so lovingly attracted, while they are at the same time so filled and transfused with the Godhead,
that they lose all their diversity in the Unity of the Godhead.
These are they to whom God makes their work here on earth a delight;
so that they have a real foretaste of that which they will enjoy forever.
These are they on whom the Holy Christian Church rests;
and, if they did not form part of Christianity, Christianity could no longer exist;
for their mere existence, what they are, is infinitely worthier and more useful than all the doings of the world.
These are they of whom our Lord has said:
“He that toucheth you, toucheth the apple of Mine eye.”
Therefore, take heed that ye do them no wrong. May God help us.
On the progress of The Wise Man's Fear in "Concerning the Release of Book Two" (26 February 2009) http://blog.patrickrothfuss.com/2009/02/concerning-the-release-of-book-two/
Official site
Context: My book is different.
In case you hadn't noticed, the story I'm telling is a little different. It's a little shy on the Aristotelian unities. It doesn't follow the classic Hollywood three-act structure. It's not like a five-act Shakespearean play. It's not like a Harlequin romance.
So what *is* the structure then? Fuck if I know. That's part of what's taking me so long to figure out. As far as I can tell, my story is part autobiography, part hero's journey, part epic fantasy, part travelogue, part faerie tale, part coming of age story, part romance, part mystery, part metafictional-nested-story-frame-tale-something-or-other.
I am, quite frankly, making this up as I go. If I get it right, I get something like The Name of the Wind. Something that makes all of us happy.
But if I fuck it up, I'll end up with a confusing tangled mess of a story.
Now I'm not trying to claim that I'm unique in this. That I'm some lone pioneer mapping the uncharted storylands. Other authors do it too. My point is that doing something like this takes more time that writing another shitty, predictable Lord of the Rings knockoff.
Sometimes I think it would be nice to write a that sort of book. It would be nice to be able to use those well-established structures like a sort of recipe. A map. A paint-by-numbers kit.
It would be so much easier, and quicker. But it wouldn't be a better book. And it's not really the sort of book I want to write.
"Childhood".
Silex Scintillans (1655)
Context: Dear, harmless age! the short, swift span
Where weeping Virtue parts with man;
Where love without lust dwells, and bends
What way we please without self-ends. An age of mysteries! which he
Must live that would God's face see
Which angels guard, and with it play,
Angels! which foul men drive away.
Source: The Thing (1929), Ch. IV : The Drift From Domesticity
Context: In the matter of reforming things, as distinct from deforming them, there is one plain and simple principle; a principle which will probably be called a paradox. There exists in such a case a certain institution or law; let us say, for the sake of simplicity, a fence or gate erected across a road. The more modern type of reformer goes gaily up to it and says, "I don't see the use of this; let us clear it away." To which the more intelligent type of reformer will do well to answer: "If you don't see the use of it, I certainly won't let you clear it away. Go away and think. Then, when you can come back and tell me that you do see the use of it, I may allow you to destroy it."
This paradox rests on the most elementary common sense. The gate or fence did not grow there. It was not set up by somnambulists who built it in their sleep. It is highly improbable that it was put there by escaped lunatics who were for some reason loose in the street. Some person had some reason for thinking it would be a good thing for somebody. And until we know what the reason was, we really cannot judge whether the reason was reasonable. It is extremely probable that we have overlooked some whole aspect of the question, if something set up by human beings like ourselves seems to be entirely meaningless and mysterious. There are reformers who get over this difficulty by assuming that all their fathers were fools; but if that be so, we can only say that folly appears to be a hereditary disease. But the truth is that nobody has any business to destroy a social institution until he has really seen it as an historical institution. If he knows how it arose, and what purposes it was supposed to serve, he may really be able to say that they were bad purposes, or that they have since become bad purposes, or that they are purposes which are no longer served. But if he simply stares at the thing as a senseless monstrosity that has somehow sprung up in his path, it is he and not the traditionalist who is suffering from an illusion.
Progress In Religion (2000)
Context: I am saying to modern scientists and theologians: don't imagine that our latest ideas about the Big Bang or the human genome have solved the mysteries of the universe or the mysteries of life. Here are Bacon's words again: "The subtlety of nature is greater many times over than the subtlety of the senses and understanding". In the last four hundred years, science has fulfilled many of Bacon's dreams, but it still does not come close to capturing the full subtlety of nature.
Are You an Illusion (2014). 16.
Context: About all these things physics can tell us nothing. The idea of natural selection, which, as we shall see, is uaully called in to account for this vast creative surge, is already looking increasingly inadequate to explain evolution. The main trouble is, I think, best explained in the analogy of coffee. Natural selection is only a filter, and filters do not provide the taste of coffee that pours through them. Similarly, the range of evolutionary alternatives between which selection takes place has to be already in matter. How it comes to be present there is the real mystery about creation.
On Being a Real Person (1943)
Context: Every human life involves an unfathomable mystery, for man is the riddle of the universe, and the riddle of man is his endowment with personal capacities. The stars are not so strange as the mind that studies them, analyzes their light, and measures their distances.
Source: Dictionary of Burning Words of Brilliant Writers (1895), p. 31.
Context: I cannot look around me without being struck with the analogy observable in the works of God. I find the Bible written in the style of His other books of Creation and Providence. The pen seems in the same hand. I see it, indeed, write at times mysteriously in each of these books; thus I know that mystery in the works of God is only another name for my ignorance. The moment, therefore, that I become humble, all becomes right.
Song lyrics, Singles and rarities
The Diary of Samuel Marchbanks (1947)
Context: But I wonder if people do not attach too much importance to the first-name habit? Every man and woman is a mystery, built like those Chinese puzzles which consist of one box inside another, so that ten or twelve boxes have to be opened before the final solution is found. Not more than two or three people have ever penetrated beyond my outside box, and there are not many people whom I have explored further; if anyone imagines that being on first-name terms with somebody magically strips away all the boxes and reveals the inner treasure he still has a great deal to learn about human nature. There are people, of course, who consist only of one box, and that a cardboard carton, containing nothing at all.
Odysseus, Book II, line 1017
The Odyssey : A Modern Sequel (1938)
The Kate Bush Story (2014)
Context: They're not "normal" songs. None of her songs have been "normal." She's just who she is, she's unique. She's — a mystery. She's the most beautiful mystery. … Let me tell you a story: when I had my civil partnership, nine years ago, in 2005, and Kate — we invited Kate, we didn't think she'd come but she came, she came with her husband Danny, and there were a lot of very famous people in that room, there were like 600 people — and all anybody wanted to meet was Kate Bush. I mean, musician, anybody — they couldn't believe Kate Bush was there. She's kind of an enigma.
Journal entry (2 March 1861), Ch. 5 : The Beginning of the War.
Lucy Larcom : Life, Letters, and Diary (1895)
Context: Eternal life and eternal death; what do these words mean? This is the question that comes up again and again. It has recently been brought up by those whom I am appointed to instruct; and the question with its answer, brings new and fearful responsibility with every return. I am more and more convinced that the idea of duration is not the one that affects us most: for here it has proved that those who are least careful about what they are in heart and life, are trying hardest to convince themselves and others that the "doctrine of eternal punishment" is not true. By making themselves believe that to be the all-important question, they draw off their own and others' attention from the really momentous one, — "Am I living the eternal life? Is it begun in me now?"
And now I see why I have questioned whether it was right in me to express my own doubts of this very doctrine. The final renovation of all souls, their restoration to life in holiness and love, is certainly a hope of mine that is not without a strong infusion of confidence; but I dare not say it is a belief; because both reason and revelation have left it in deep mystery; and the expression of any such belief does not seem to me likely to help others much; certainly not those who are indolent or indifferent regarding the true Christian life.
Then the "loss of the soul" is in plain language spoken of by our Lord as possible. What can that mean, but the loss of life in Him? the loss of ennobling aspirations, of the love of all good, of the power of seeing and seeking truth? And if this is possible to us now, by our own choice, why not forever? — since, as free beings, our choice must always be in our own power?
The truth that we must all keep before us, in order to be growing better forever, is that life is love and holiness; death, selfishness and sin; then it is a question of life and death to be grappled with in the deep places of every soul.
Unsourced variant or paraphrase: … We might have given it any name we wished: Abyss, Absolute Darkness, Absolute Light, Matter, Spirit, Ultimate Hope, Ultimate Despair, Silence. But never forget, it is we who give it a name.
The Saviors of God (1923)
Context: We have seen the highest circle of spiraling powers. We have named this circle God. We might have given it any other name we wished: Abyss, Mystery, Absolute Darkness, Absolute Light, Matter, Spirit, Ultimate Hope, Ultimate Despair, Silence.
But we have named it God because only this name, for primordial reasons, can stir our hearts profoundly. And this deeply felt emotion is indispensable if we are to touch, body with body, the dread essence beyond logic.
Within this gigantic circle of divinity we are in duty bound to separate and perceive clearly the small, burning arc of our epoch.
Source: Flatland: A Romance of Many Dimensions (1884), PART II: OTHER WORLDS, Chapter 16. How the Stranger Vainly Endeavoured to Reveal to Me in Words the Mysteries of Spaceland
Context: You are living on a Plane. What you style Flatland is the vast level surface of what I may call a fluid, on, or in, the top of which you and your countrymen move about, without rising above it or falling below it.I am not a plane Figure, but a Solid. You call me a Circle; but in reality I am not a Circle, but an infinite number of Circles, of size varying from a Point to a Circle of thirteen inches in diameter, one placed on the top of the other. When I cut through your plane as I am now doing, I make in your plane a section which you, very rightly, call a Circle. For even a Sphere — which is my proper name in my own country — if he manifest himself at all to an inhabitant of Flatland — must needs manifest himself as a Circle.Do you not remember — for I, who see all things, discerned last night the phantasmal vision of Lineland written upon your brain — do you not remember, I say, how, when you entered the realm of Lineland, you were compelled to manifest yourself to the King, not as a Square, but as a Line, because that Linear Realm had not Dimensions enough to represent the whole of you, but only a slice or section of you? In precisely the same way, your country of Two Dimensions is not spacious enough to represent me, a being of Three, but can only exhibit a slice or section of me, which is what you call a Circle.The diminished brightness of your eye indicates incredulity. But now prepare to receive proof positive of the truth of my assertions. You cannot indeed see more than one of my sections, or Circles, at a time; for you have no power to raise your eye out of the plane of Flatland; but you can at least see that, as I rise in Space, so my sections become smaller. See now, I will rise; and the effect upon your eye will be that my Circle will become smaller and smaller till it dwindles to a point and finally vanishes.There was no "rising" that I could see; but he diminished and finally vanished. I winked once or twice to make sure that I was not dreaming. But it was no dream. For from the depths of nowhere came forth a hollow voice — close to my heart it seemed — "Am I quite gone? Are you convinced now? Well, now I will gradually return to Flatland and you shall see my section become larger and larger."Every reader in Spaceland will easily understand that my mysterious Guest was speaking the language of truth and even of simplicity. But to me, proficient though I was in Flatland Mathematics, it was by no means a simple matter.
Source: The Right to Be Happy (1927), Ch. V, p. 235
Context: Art that means anything in the life of a community must bear some relation to current interpretations of the mystery of the universe. Our rigid separation of the humanities and the sciences has temporarily left our art stranded or stammering and incoherent. Both art and science ought to be blended in our early education of our children's emotions and powers of observation, and that harmony carried forward in later education.
Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 111-112
Why I Am An Agnostic (1929)
Context: To say that God made the universe gives us no explanation of the beginnings of things. If we are told that God made the universe, the question immediately arises: Who made God? Did he always exist, or was there some power back of that? Did he create matter out of nothing, or is his existence coextensive with matter? The problem is still there. What is the origin of it all? If, on the other hand, one says that the universe was not made by God, that it always existed, he has the same difficulty to confront. To say that the universe was here last year, or millions of years ago, does not explain its origin. This is still a mystery. As to the question of the origin of things, man can only wonder and doubt and guess.
"Foreword to an Exhibit: I" (1944)
Context: Art is a mystery.
A mystery is something immeasurable.
In so far as every child and woman and man may be immeasurable, art is the mystery of every man and woman and child. In so far as a human being is an artist, skies and mountains and oceans and thunderbolts and butterflies are immeasurable; and art is every mystery of nature. Nothing measurable can be alive; nothing which is not alive can be art; nothing which cannot be art is true: and everything untrue doesn’t matter a very good God damn...
“Mystery exists in the mind, not in reality.”
A comment on Wrong Questions http://lesswrong.com/lw/og/wrong_questions/ (March 2008)
Context: Mystery exists in the mind, not in reality. If I am ignorant about a phenomenon, that is a fact about my state of mind, not a fact about the phenomenon itself. All the more so, if it seems like no possible answer can exist: Confusion exists in the map, not in the territory. Unanswerable questions do not mark places where magic enters the universe. They mark places where your mind runs skew to reality.
“When we study law we are not studying a mystery but a well-known profession.”
1890s, The Path of the Law (1897)
Context: When we study law we are not studying a mystery but a well-known profession. We are studying what we shall want in order to appear before judges, or to advise people in such a way as to keep them out of court. The reason why it is a profession, why people will pay lawyers to argue for them or to advise them, is that in societies like ours the command of the public force is intrusted to the judges in certain cases, and the whole power of the state will be put forth, if necessary, to carry out their judgments and decrees. People want to know under what circumstances and how far they will run the risk of coming against what is so much stronger than themselves, and hence it becomes a business to find out when this danger is to be feared. The object of our study, then, is prediction, the prediction of the incidence of the public force through the instrumentality of the courts.
volume I; lecture 3, "The Relation of Physics to Other Sciences"; section 3-4, "Astronomy"; p. 3-6
The Feynman Lectures on Physics (1964)
Context: Poets say science takes away from the beauty of the stars — mere globs of gas atoms. Nothing is "mere". I too can see the stars on a desert night, and feel them. But do I see less or more? The vastness of the heavens stretches my imagination — stuck on this carousel my little eye can catch one-million-year-old light. A vast pattern — of which I am a part... What is the pattern, or the meaning, or the why? It does not do harm to the mystery to know a little about it. For far more marvelous is the truth than any artists of the past imagined! Why do the poets of the present not speak of it? What men are poets who can speak of Jupiter if he were a man, but if he is an immense spinning sphere of methane and ammonia must be silent?
Be Here Now (1971)
Context: Before March 6th, which was the day I took Psylocybin, one of the psychedelics, I felt something was wrong in my world, but I couldn't label it in any way so as to get hold of it. I felt that the theories I was teaching in psychology didn't make it, that the psychologists didn't really have a grasp of the human condition, and that the theories I was teaching, which were theories of achievement and anxiety and defense mechanisms and so on, weren't getting to the crux of the matter.
My colleagues and I were 9 to 5 psychologists: we came to work every day and we did our psychology, just like you would do insurance or auto mechanics, and then at 5 we went home and were just as neurotic as we were before we went to work. Somehow, it seemed to me, if all of this theory were right, it should play more intimately into my own life. I understood the requirement of being "objective" for a scientist, but this is a most naive concept in social sciences as we are finding out....
Something was wrong. And the something wrong was that I just didn't know, though I kept feeling all along the way that somebody else must know even though I didn't. The nature of life was a mystery to me. All the stuff I was teaching was just like little molecular bits of stuff but they didn't add up to a feeling anything like wisdom. I was just getting more and more knowledgeable.
'This promise constitutes the heart of my Christian beliefs and my call to natural-scientific research: we will attain to knowledge of the universe through the spirit of truth, and thereby to understanding of our being one with the deepest, most comprehensive reality, God.'
Source: LSD : My Problem Child (1980), Ch. 11 : LSD Experience and Reality
4:4 <!-- p. 150 -->
Church Dogmatics (1932–1968)
Context: Since Jesus Christ is a servant, looking to Him cannot mean looking away from the world, from men, from life, or, as is often said, from oneself. It cannot mean looking away into some distance or height. To look to Him is to see Him at the very centre, to see Him and the history which, accomplished in Him, heals everything and all things, as the mystery, reality, origin and goal of the whole world, all men, all life. To look to Him is to cleave to Him as the One who bears away the sin of the world. It is to be bound and liberated, claimed, consoled, cheered and ruled by Him.
Source: Zen and the Art of Motorcycle Maintenance (1974), Ch. 20
Context: Any philosophic explanation of Quality is going to be both false and true precisely because it is a philosophic explanation. The process of philosophic explanation is an analytic process, a process of breaking something down into subjects and predicates. What I mean (and everybody else means) by the word ‘quality’ cannot be broken down into subjects and predicates. This is not because Quality is so mysterious but because Quality is so simple, immediate and direct.
“Memory is a mystery as deep as any that even psychology can propound.”
Source: Problems In Genetics (1913), p. 191
Context: Memory is a mystery as deep as any that even psychology can propound. [Natural] Philosophers might perhaps encourage themselves to attack the problem of the nature of memory by reflecting that after all the process may in some of its aspects be comparable with that of inheritance, but the student of genetics, as long as he can keep in close touch with a profitable basis of material fact, will scarcely be tempted to look for inspiration in psychical analogies.
Letter to Robert Bridges (24 October 1883)
Letters, etc
Context: You do not mean by mystery what a Catholic does. You mean an interesting uncertainty: the uncertainty ceasing, interest ceases also... But a Catholic by mystery means an incomprehensible certainty: without certainty, without formulation there is no interest;... the clearer the formulation the greater the interest.
“The mystery has grown savage, and God has grown greater.”
The Saviors of God (1923)
Context: I do not care what face other ages and other people have given to the enormous, faceless essence. They have crammed it with human virtues, with rewards and punishments, with certain ties. They have given a face to their hopes and fears, they have submitted their anarchy to a rhythm, they have found a higher justification by which to live and labor. They have fulfilled their duty.
But today we have gone beyond these needs; we have shattered this particular mask of the Abyss; our God no longer fits under the old features.
Our hearts have overbrimmed with new agonies, with new luster and silence. The mystery has grown savage, and God has grown greater. The dark powers ascend, for they have also grown greater, and the entire human island quakes.
Let us stoop down to our hearts and confront the Abyss valiantly. Let us try to mold once more, with our flesh and blood, the new, contemporary face of God.
For our God is not an abstract thought, a logical necessity, a high and harmonious structure made of deductions and speculations.
He is not an immaculate, neutral, odorless, distilled product of our brains, neither male nor female.
He is both man and woman, mortal and immortal, dung and spirit. He gives birth, fecundates, slaughters — death and eros in one — and then he begets and slays once more, dancing spaciously beyond the boundaries of a logic which cannot contain the antinomies.
1930s, My Credo (1932)
Context: The most beautiful and deepest experience a man can have is the sense of the mysterious. It is the underlying principle of religion as well as all serious endeavor in art and science. He who never had this experience seems to me, if not dead, then at least blind. To sense that behind anything that can be experienced there is a something that our mind cannot grasp and whose beauty and sublimity reaches us only indirectly and as a feeble reflection, this is religiousness.
In this sense I am religious. To me it suffices to wonder at these secrets and to attempt humbly to grasp with my mind a mere image of the lofty structure of all that there is.
Vague Thoughts On Art (1911)
Context: Perfection, cosmically, was nothing but perfect Equanimity and Harmony; and in human relations, nothing but perfect Love and Justice. And Perfection began to glow before the eyes of the Western world like a new star, whose light touched with glamour all things as they came forth from Mystery, till to Mystery they were ready to return.
This — I thought is surely what the Western world has dimly been rediscovering. There has crept into our minds once more the feeling that the Universe is all of a piece, Equipoise supreme; and all things equally wonderful, and mysterious, and valuable. We have begun, in fact, to have a glimmering of the artist's creed, that nothing may we despise or neglect — that everything is worth the doing well, the making fair — that our God, Perfection, is implicit everywhere, and the revelation of Him the business of our Art.
“Confusing ‘Character’ with ‘Temperament’”
Clearing the Ground (1986)
Context: The core in the mystery of what we call personality resides in the individual mix between character and temperament. The most successful personalities are those who achieve the best balance between the strict demands of character and the lenient tolerance of temperament. This balance is the supreme test of genuine leadership, separating the savior from the fanatic.
The human Jesus is, to my mind, the ultimate paradigm of such psychic equilibrium. He was absolutely hard on himself and absolutely tender toward others. He maintained the highest criteria of conduct for himself but was not priggish or censorious or self-righteous about those who were weaker and frailer. Most persons of strength cannot accept or tolerate weakness in others. They are blind to the virtues they do not possess themselves and are fiercely judgmental on one scale of values alone. Jesus was unique, even among religious leaders, in combining the utmost of principle with the utmost of compassion for those unable to meet his standards.
We need to understand temperament better than we do and to recognize its symbiotic relationship to character. There are some things people can do to change and some things they cannot do — character can be formed, but temperament is given. And the strong who cannot bend are just as much to be pitied as the weak who cannot stiffen.
