
Muhammad Kulayni, Usūl al-Kāfī - Book of Faith and Infidelity, vol.3, p. 202 & vol.2, p. 316
A collection of quotes on the topic of parable, use, life, likeness.
Muhammad Kulayni, Usūl al-Kāfī - Book of Faith and Infidelity, vol.3, p. 202 & vol.2, p. 316
Source: The Spiritual Life (1947), p. 264
Letter 4: Theosophy of Julius
The Philosophical Letters
Section 167
2010s, 2013, Evangelii Gaudium · The Joy of the Gospel
Repentance before forgiveness is a provision of the Christian system, and on that condition alone will the Republicans grant his forgiveness.
Regarding his debate with Judge S. A. Douglas, in his Springfield address (17 July 1858), published in The Life, Speeches, and Public Services of Abraham Lincoln: Together with a Sketch of the Life of Hannibal Hamlin: Republican candidates for the offices of President and Vice-President of the United States (1860), p. 50
Lincoln was alluding to the words of Jesus in Luke 15:7 http://www.biblegateway.com/verse/en/Luke%2015%3A7
1850s
"Can Religion Cure Our Troubles?", in Stockholm newspaper Dagens Nyheter, part II (11 November 1954)
1950s
Source: Das Ressentiment im Aufbau der Moralen (1912), L. Coser, trans. (1961), pp. 88-92
Remarks after the Solvay Conference (1927)
Context: I feel very much like Dirac: the idea of a personal God is foreign to me. But we ought to remember that religion uses language in quite a different way from science. The language of religion is more closely related to the language of poetry than to the language of science. True, we are inclined to think that science deals with information about objective facts, and poetry with subjective feelings. Hence we conclude that if religion does indeed deal with objective truths, it ought to adopt the same criteria of truth as science. But I myself find the division of the world into an objective and a subjective side much too arbitrary. The fact that religions through the ages have spoken in images, parables, and paradoxes means simply that there are no other ways of grasping the reality to which they refer. But that does not mean that it is not a genuine reality. And splitting this reality into an objective and a subjective side won't get us very far.
Remarks after the Solvay Conference (1927)
Context: In mathematics we can take our inner distance from the content of our statements. In the final analysis mathematics is a mental game that we can play or not play as we choose. Religion, on the other hand, deals with ourselves, with our life and death; its promises are meant to govern our actions and thus, at least indirectly, our very existence. We cannot just look at them impassively from the outside. Moreover, our attitude to religious questions cannot be separated from our attitude to society. Even if religion arose as the spiritual structure of a particular human society, it is arguable whether it has remained the strongest social molding force through history, or whether society, once formed, develops new spiritual structures and adapts them to its particular level of knowledge. Nowadays, the individual seems to be able to choose the spiritual framework of his thoughts and actions quite freely, and this freedom reflects the fact that the boundaries between the various cultures and societies are beginning to become more fluid. But even when an individual tries to attain the greatest possible degree of independence, he will still be swayed by the existing spiritual structures — consciously or unconsciously. For he, too, must be able to speak of life and death and the human condition to other members of the society in which he's chosen to live; he must educate his children according to the norms of that society, fit into its life. Epistemological sophistries cannot possibly help him attain these ends. Here, too, the relationship between critical thought about the spiritual content of a given religion and action based on the deliberate acceptance of that content is complementary. And such acceptance, if consciously arrived at, fills the individual with strength of purpose, helps him to overcome doubts and, if he has to suffer, provides him with the kind of solace that only a sense of being sheltered under an all-embracing roof can grant. In that sense, religion helps to make social life more harmonious; its most important task is to remind us, in the language of pictures and parables, of the wider framework within which our life is set.
Die Quantentheorie ist so ein wunderbares Beispiel dafür, daß man einen Sachverhalt in völliger Klarheit verstanden haben kann und gleichzeitig doch weiß, daß man nur in Bildern und Gleichnissen von ihm reden kann.
Der Teil und das Ganze. Gespräche im Umkreis der Atomphysik (1969); also in "Kein Chaos, aus dem nicht wieder Ordnung würde", Die Zeit No. 34 (22 August 1969) http://www.zeit.de/1969/34/kein-chaos-aus-dem-nicht-wieder-ordnung-wuerde/komplettansicht; as translated in Physics and Beyond : Encounters and Conversation (1971)
“Oh, I get it," I said. "It's a parable. Cute. Let's go eat.”
Source: Lamb: The Gospel According to Biff, Christ's Childhood Pal
Young America's Foundation conference at the Reagan Ranch Center in Santa Barbara - YouTube https://www.youtube.com/watch?v=sW2SFGIIqFI#t=06m45s
2013
On the film adaptation of V for Vendetta
Alan Moore on Anarchism (2009)
America...You Kill Me
"Instruction" (1976), p. 29
The Boy who Catches Wasps (2002)
Le christianisme est là avec sa merveilleuse parabole de l'enfant prodigue pour nous conseiller l'indulgence et le pardon. Jésus était plein d'amour pour ces âmes blessées par les passions des hommes, et dont il aimait à panser les plaies en tirant le baume qui devait les guérir des plaies elles-mêmes. Ainsi, il disait à Madeleine : - "il te sera beaucoup remis parce que tu as beaucoup aimé", sublime pardon qui devait éveiller une foi sublime. Pourquoi nous ferions-nous plus rigides que le Christ ?
Pourquoi, nous en tenant obstinément aux opinions de ce monde qui se fait dur pour qu'on le croie fort, rejetterions-nous avec lui des âmes saignantes souvent de blessures par où, comme le mauvais sang d'un malade, s'épanche le mal de leur passé, et n'attendant qu'une main amie qui les panse et leur rende la convalescence du coeur ?
La Dame aux Camélias, English translation by David Coward; Oxford University Press, Sep 18, 1986.
"Heil und Heilung - Theologie und Psychoanalyse," speech at a conference of therapists in Basel, Switzerland (1977-05-21)
" Education by Poetry http://www.en.utexas.edu/amlit/amlitprivate/scans/edbypo.html", speech delivered at Amherst College and subsequently revised for publication in the Amherst Graduates’ Quarterly (February 1931)
1930s
Source: The Money Game (1968), Chapter 6, What Are They In It For?, p. 68
" Poem in October http://www.bigeye.com/october.htm", st. 5 (1946)
Source: The Myth of Mental Illness: Foundations of a Theory of Personal Conduct (1961), Chapter 10: The Ethics of Helplessness and Helpfulness.
Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 65.
And he said, "Isn't it interesting that women have always had this kind of genius for telling stories in the kitchen."
Violating the Boundaries: An Interview with Richard Rodriguez (1999)
Letter to Gordon Smith, January 1, 1959, as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, p. 196
1950s
Source: Inherent Vice (2009), p. 119 <!-- (The Penguin Press, 2009, US hardcover edition) -->
The sober-minded Christian scholar has none of this Jewish blindness, he only says of Christ, we will not have this man to REIGN IN US, and so keeps clear of such mystic absurdity as St. Paul fell into, when he enthusiastically said, "Yet not I, but Christ that liveth in me."
¶ 157 - 158.
An Humble, Earnest and Affectionate Address to the Clergy (1761)
Quoted in Remembrance by Tom Johnson (September 1987)
"Playboy Interview: Madalyn Murray", Playboy (October 1965), on why she pursued Murray v. Curlett
Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 77.
Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 63.
Three Discourses at Friday Communion November 14, 1849 Hong translation 1997 P. 141
1840s, Three Discourses at the Communion on Fridays (1849)
"By lying to Allah, I suppose."
"The Tale of the Rose and the Nightingale (and What Came of It)", Arabesques (1988), ed. Susan Schwartz. Reprinted in Gene Wolfe, Endangered Species (1989)
Fiction
Review of Magnolia (1999), in review for Great Movies (27 November 2008) http://www.rogerebert.com/reviews/great-movie-magnolia-1999
Reviews, Four star reviews
Context: Magnolia is a film of sadness and loss, of lifelong bitterness, of children harmed and adults destroying themselves. As the narrator tells us near the end, "We may be through with the past, but the past is never through with us." In this wreckage of lifetimes, there are two figures, a policeman and a nurse, who do what they can to offer help, hope and love. … The central theme is cruelty to children, and its lasting effect. This is closely linked to a loathing or fear of behaving as we are told, or think, that we should. … As an act of filmmaking, it draws us in and doesn't let go. It begins deceptively, with a little documentary about amazing coincidences (including the scuba diver scooped by a fire-fighting plane and dumped on a forest fire) … coincidences and strange events do happen, and they are as real as everything else. If you could stand back far enough, in fact, everything would be revealed as a coincidence. What we call "coincidences" are limited to the ones we happen to notice. … In one beautiful sequence, Anderson cuts between most of the major characters all simultaneously singing https://www.youtube.com/watch?v=aNmKghTvj0E Aimee Mann's "It's Not Going to Stop." A directorial flourish? You know what? I think it's a coincidence. Unlike many other "hypertext movies" with interlinking plots, Magnolia seems to be using the device in a deeper, more philosophical way. Anderson sees these people joined at a level below any possible knowledge, down where fate and destiny lie. They have been joined by their actions and their choices.
And all leads to the remarkable, famous, sequence near the film's end when it rains frogs. Yes. Countless frogs, still alive, all over Los Angeles, falling from the sky. That this device has sometimes been joked about puzzles me. I find it a way to elevate the whole story into a larger realm of inexplicable but real behavior. We need something beyond the human to add another dimension. Frogs have rained from the sky eight times this century, but never mind the facts. Attend instead to Exodus 8:2, which is cited on a placard in the film: "And if thou refuse to let them go, behold, I will smite your whole territory with frogs." Let who go? In this case, I believe, it refers not to people, but to fears, shames, sins.
Magnolia is one of those rare films that works in two entirely different ways. In one sense, it tells absorbing stories, filled with detail, told with precision and not a little humor. On another sense, it is a parable. The message of the parable, as with all good parables, is expressed not in words but in emotions. After we have felt the pain of these people, and felt the love of the policeman and the nurse, we have been taught something intangible, but necessary to know.
Source: Christ's Object Lessons (1900), Ch. 1, p. 20
Context: Jesus desired to awaken inquiry. He sought to arouse the careless, and impress truth upon the heart. Parable teaching was popular, and commanded the respect and attention, not only of the Jews, but of the people of other nations. No more effective method of instruction could He have employed.
Source: The Life of Poetry (1949), p. 150
Context: The continuity of film, in which the writer deals with a track of images moving at a given rate of speed, and a separate sound-track which is joined arbitrarily to the image-track, is closer to the continuity of poetry than anything else in art. But the heaviness of the collective work on a commercial film, the repressive codes and sanctions, unspoken and spoken, the company-town feeling raised to its highest, richest, most obsessive-compulsive level in Hollywood, puts the process at the end of any creative spectrum farthest from the making of a poem.
At the same time, almost anything that can be said to make the difficulties of poetry dissolve for the reader, or even to make the reader want to deal with those "difficulties," can be said in terms of film. These images are like the action sequences of a well-made movie — a good thriller will use the excitement of timing, of action let in from several approaches, of crisis prepared for emotionally and intellectually, so that you can look back and recognize the way of its arrival; or, better, feel it coming until the moment of proof arrives, meeting your memory and your recognition.
The cutting of films is a parable in the motion of any art that lives in time, as well as a parable in the ethics of communication.
Source: Christ's Object Lessons (1900), Ch. 1, p. 22
Context: Christ had truths to present which the people were unprepared to accept or even to understand. For this reason also He taught them in parables. By connecting His teaching with the scenes of life, experience, or nature, He secured their attention and impressed their hearts. Afterward, as they looked upon the objects that illustrated His lessons, they recalled the words of the divine Teacher. To minds that were open to the Holy Spirit, the significance of the Saviour's teaching unfolded more and more. Mysteries grew clear, and that which had been hard to grasp became evident.
Jesus sought an avenue to every heart. By using a variety of illustrations, He not only presented truth in its different phases, but appealed to the different hearers. Their interest was aroused by figures drawn from the surroundings of their daily life. None who listened to the Saviour could feel that they were neglected or forgotten. The humblest, the most sinful, heard in His teaching a voice that spoke to them in sympathy and tenderness.
And He had another reason for teaching in parables. Among the multitudes that gathered about Him, there were priests and rabbis, scribes and elders, Herodians and rulers, world-loving, bigoted, ambitious men, who desired above all things to find some accusation against Him. Their spies followed His steps day after day, to catch from His lips something that would cause His condemnation, and forever silence the One who seemed to draw the world after Him. The Saviour understood the character of these men, and He presented truth in such a way that they could find nothing by which to bring His case before the Sanhedrim. In parables He rebuked the hypocrisy and wicked works of those who occupied high positions, and in figurative language clothed truth of so cutting a character that had it been spoken in direct denunciation, they would not have listened to His words, and would speedily have put an end to His ministry. But while He evaded the spies, He made truth so clear that error was manifested, and the honest in heart were profited by His lessons.
"On Parables" (1922), translation by Willa and Edwin Muir
The Complete Stories (1971)
Context: A man once said: Why such reluctance? If you only followed the parables you yourselves would become parables and with that rid of all your daily cares.
Another said: I bet that is also a parable.
The first said: You have won.
The second said: But unfortunately only in parable.
The first said: No, in reality: in parable you have lost.
Of the Network of Signifiers
The Four Fundamental Concepts of Psycho Analysis (1978)