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For even if we know very little that is certain about spirit or soul, the true nature of the body, of materiality, is totally unknown and incomprehensible to us. ↗
The distinction between natural and supernatural, in fact, broke down; and when it had done so, the burden of intolerable strangeness which this universe imposes on us by dividing it into two halves and encouraging the mind never to think of both in the same context. What price we may have paid for this comfort in the way of false security and accepted confusion of the thought is another matter. ↗
Reading The Waste Land, then, is in part reading about reading in the early twentieth century. The crisis in epistemology brought on by the discrediting of objectivity is especially relevant to understanding the poem, because the problem of knowledge is itself one of its major subjects. Like Joyce, Valéry, and other contemporary writers, Eliot consciously adds a dimension in which his work is self-reflexive, a dimension in which it refers to itself and its nature as a linguistic structure, a dimension which incorporates the larger subject of the crisis in Western culture into the process of reading. The Waste Land contains, in addition to its many other gifts, a partial set of instructions on how to read in the twentieth century. We believe and shall try to demonstrate that Eliot's poem, in one of its aspects, is a brief and striking primer, a McGuffey's Eclectic Reader for the twentieth century. ↗
ô enfance du coeur humain qui ne vieillit jamais! voilà donc à quel degré de puérilité notre superbe raison peut descendre! Et encore est-il vrai que bien des hommes attachent leur destinée à des choses d'aussi peu de valeur que mes feuilles de saule. ↗
The garden has wrapped itself in autumn haze. An unusual autumn, lacking that thrill of vegetal warmth when the sap is still alive and holds up the trees, drunk on solar gold. It is the sorrowful climax of a summer's drought. Never before was I so struck by the cancerous emaciation in a garden. The leaves started turning yellow in July and began falling, like a dance of prematurely withered bodies. ↗
Soul: As a cool guy, I'm used to seeing naked women. Blair: That explains the nosebleed ↗
#manga #soul-eater #manga
I do not know by what extraordinary mental accident modern writers so constantly connect the idea of progress with the idea of independent thinking. Progress is obviously the antithesis of independent thinking. For under independent or individualistic thinking, every man starts at the beginning, and goes, in all probability, just as far as his father before him. But if there really be anything of the nature of progress, it must mean, above all things, the careful study and assumption of the whole of the past. ↗
We have then, in the first part of The Faerie Queene, four of the seven deadly sins depicted in the more important passages of the four several books; those sins being much more elaborately and powerfully represented than the virtues, which are opposed to them, and which are personified in the titular heroes of the respective books. The alteration which made these personified virtues the centre each of a book was probably part of the reconstruction on the basis of Aristotle Ethics. The nature of the debt to Aristotle suggests that Spenser did not borrow directly from the Greek, but by way of modern translations. ↗
...the magic was a tool, though a natural, mysterious tool. In its awareness of the magic, his human nature had desired to connect with it, to use it. The whisperings were the voice of his own awakening, not the seductive call of a dark power. Using it was not corruption, but a natural extension of his being. And he could control the manner in which he used it. He would. ↗
#choice #dark-power #free-will #magic #power
