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| : cusa_clock | |
| The concept of a clock enfolds all succession in time. | |
| In the concept the sixth hour is not earlier | |
| than the seventh or eighth, | |
| although the clock never strikes the hour, | |
| save when the concept biddeth. | |
| Nicholas of Cusa, 1450 | |
| : abbad_wine | |
| The glass is transparent, | |
| the wine transparent — | |
| the two are similar, | |
| the affair confused. | |
| There seems to be wine | |
| and no glass, | |
| or glass | |
| and no wine. | |
| Sahib bin Abbad, circa 990 | |
| : einstein_cosmic_religious_feeling | |
| I maintain that the cosmic religious feeling | |
| is the strongest and noblest motive for scientific research. | |
| Only those who realize the immense efforts | |
| and, above all, the devotion | |
| without which pioneer work in theoretical science | |
| cannot be achieved | |
| are able to grasp the strength of the emotion | |
| out of which alone such work, | |
| remote as it is from the immediate realities of life, can issue. | |
| What a deep conviction of the rationality of the universe | |
| and what a yearning to understand, | |
| were it but a feeble reflection | |
| of the mind revealed in this world, | |
| Kepler and Newton must have had | |
| to enable them to spend years of solitary labor | |
| in disentangling the principles of celestial mechanics! | |
| Those whose acquaintance with scientific research is derived | |
| chiefly from its practical results | |
| easily develop a completely false notion of the mentality | |
| of the men who, surrounded by a skeptical world, | |
| have shown the way to kindred spirits scattered wide | |
| through the world and through the centuries. | |
| Only one who has devoted his life to similar ends | |
| can have a vivid realization of what has inspired these men | |
| and given them the strength to remain true to their purpose | |
| in spite of countless failures. | |
| It is cosmic religious feeling that gives a man such strength. | |
| A contemporary has said, not unjustly, | |
| that in this materialistic age of ours | |
| the serious scientific workers | |
| are the only profoundly religious people. | |
| Albert Einstein, 1930 | |
| : augustine_silence | |
| Imagine if all the tumult of the body were to quiet down, | |
| along with all our busy thoughts about earth, sea, and air; | |
| if the very world should stop, and the mind cease thinking about itself, | |
| go beyond itself, and be quite still; | |
| if all the fantasies that appear in dreams and imagination should cease, | |
| and there be no speech, no sign: | |
| Imagine if all things that are perishable grew still – | |
| for if we listen they are saying, | |
| We did not make ourselves; he made us who abides forever – | |
| imagine, then, that they should say this and fall silent, | |
| listening to the very voice of him who made them | |
| and not to that of his creation; | |
| so that we should hear not his word through the tongues of men, | |
| nor the voice of angels, | |
| nor the clouds’ thunder, | |
| nor any symbol, | |
| but the very Self which in these things we love, | |
| and go beyond ourselves to attain a flash | |
| of that eternal wisdom which abides above all things: | |
| And imagine if that moment were to go on and on, | |
| leaving behind all other sights and sounds | |
| but this one vision which ravishes and absorbs | |
| and fixes the beholder in joy; | |
| so that the rest of eternal life | |
| were like that moment of illumination | |
| which leaves us breathless: | |
| Would this not be what is bidden in scripture, | |
| Enter thou into the joy of thy Lord? | |
| Augustine of Hippo, circa 400 | |
| : tashih_gate | |
| One nature, perfect and pervading, | |
| circulates in all natures; | |
| One reality, all-comprehensive, | |
| contains within itself all realities. | |
| The one Moon reflects itself | |
| wherever there is a sheet of water, | |
| And all the moons in the waters | |
| are embraced within the one Moon. | |
| The Absolute of all the Buddhas | |
| enters into my own being, | |
| And my own being is found | |
| in union with theirs.... | |
| The Inner Light is beyond praise and blame; | |
| Like space it knows no boundaries, | |
| Yet it is even here, within us, | |
| ever retaining its serenity and fullness. | |
| It is only when you hunt for it that you lose it; | |
| You cannot take hold of it, | |
| but equally you cannot get rid of it, | |
| And while you can do neither, | |
| it goes on its own way. | |
| You remain silent and it speaks; | |
| you speak, and it is dumb. | |
| The great gate of charity is wide open, | |
| with no obstacles before it. | |
| Yung-chia Ta-shih, circa 700 | |
| : ryonen_autumn | |
| Sixty-six times have these eyes beheld the changing | |
| scene of autumn | |
| I have said enough about moonlight, | |
| Ask no more. | |
| Only listen to the voice of pines and cedars when no | |
| wind stirs. | |
| Ryonen, 1711 | |
| : dhamma_153 | |
| Through many births | |
| I have wandered on and on, | |
| Searching for, but never finding, | |
| The builder of this house. | |
| : einstein_library | |
| Your question is the most difficult in the world. | |
| It is not a question I can answer | |
| simply with yes or no. | |
| I am not an Atheist. | |
| I do not know if I can define myself as a Pantheist. | |
| The problem involved is too vast for our limited minds. | |
| May I not reply with a parable? | |
| The human mind, no matter how highly trained, | |
| cannot grasp the universe. | |
| We are in the position of a little child | |
| entering a huge library filled with books | |
| in many languages. | |
| The child knows someone must have written those books. | |
| It does not know how. | |
| It does not understand | |
| the languages in which they are written. | |
| The child dimly suspects a mysterious order | |
| in the arrangement of the books | |
| but doesn’t know what that is. | |
| That, it seems to me, | |
| is the attitude of the most intelligent human | |
| toward God. | |
| Albert Einstein, 1930 | |
| : einstein_mystical | |
| The most beautiful experience we can have | |
| is the mysterious. | |
| It is the fundamental emotion | |
| that stands at the cradle | |
| of true art and true science. | |
| Whoever does not know it and can no longer wonder, | |
| no longer marvel, | |
| is as good as dead, | |
| and his eyes are dimmed. | |
| It was the experience of mystery — | |
| even if mixed with fear — | |
| that engendered religion. | |
| A knowledge of the existence | |
| of something we cannot penetrate, | |
| our perceptions of the profoundest reason | |
| and the most radiant beauty, | |
| which only in their most primitive forms | |
| are accessible to our minds — | |
| it is this knowledge and this emotion | |
| that constitute true religiosity; | |
| in this sense, and in this alone, | |
| I am a deeply religious man. | |
| I cannot conceive of a God | |
| who rewards and punishes his creatures, | |
| or has a will of the kind | |
| that we experience in ourselves. | |
| Neither can I nor would I want to conceive | |
| of an individual that survives | |
| his physical death; | |
| let feeble souls, | |
| from fear or absurd egoism, | |
| cherish such thoughts. | |
| I am satisfied with the mystery | |
| of the eternity of life | |
| and with the awareness | |
| and a glimpse of the marvelous structure | |
| of the existing world, | |
| together with the devoted striving | |
| to comprehend a portion, | |
| be it ever so tiny, | |
| of the Reason | |
| that manifests itself in nature. | |
| Albert Einstein, 1931 | |
| : jeans_eos_1 | |
| Looked at on the astronomical time-scale, | |
| humanity is at the very beginning of its existence — | |
| a new-born babe, | |
| with all the unexplored potentialities of babyhood; | |
| and until the last few moments | |
| its interest has been centred, | |
| absolutely and exclusively, | |
| on its cradle and feeding-bottle. | |
| It has just become conscious of the vast world | |
| existing outside itself and its cradle; | |
| it is learning to focus its eyes on distant objects, | |
| and its awakening brain is beginning to wonder, | |
| in a vague, dreamy way, what they are | |
| and what purpose they serve. | |
| Its interest in this external world | |
| is not much developed yet, | |
| so that the main part of its faculties | |
| is still engrossed with the cradle and feeding-bottle, | |
| but a little corner of its | |
| brain is beginning to wonder. | |
| James Jeans, 1928 | |
| : jeans_eos_2 | |
| In any case, our three-days-old infant | |
| cannot be very confident of any interpretation | |
| it puts on a universe which it only | |
| discovered a minute or two ago. | |
| We have said it has seventy years of life before it, | |
| but in truth its expectation of life | |
| would seem to be nearer to 70,000 years. | |
| It may be puzzled, distressed, and often irritated | |
| at the apparent meaninglessness | |
| and incomprehensibility of the world | |
| to which it has suddenly wakened up. | |
| But it is still very young; | |
| it might travel half the world over | |
| before finding another baby | |
| as young and inexperienced as itself. | |
| It has before it time enough and to spare | |
| in which it may understand everything. | |
| Sooner or later the pieces of the puzzle | |
| must begin to fit together, | |
| although it may reasonably be doubted | |
| whether the whole picture can ever be comprehensible | |
| to one small, and apparently quite | |
| insignificant, part of the picture. | |
| James Jeans, 1928 | |
| : niffari_sea | |
| God bade me behold the sea, | |
| and I saw the ships sinking | |
| and the planks floating; | |
| then the planks too were submerged. | |
| And God said to me, | |
| “Those who voyage are not saved.” | |
| And He said to me, “Those who, instead of voyaging, | |
| cast themselves into the sea, take a risk.” | |
| And He said to me, | |
| “Those who voyage and take no risk shall perish.” | |
| And He said to me, | |
| “In taking the risk there is a part of salvation.” | |
| And the wave came | |
| and lifted those beneath it | |
| and overran the shore. | |
| And He said to me, | |
| "The surface of the sea is a gleam that cannot be reached. | |
| "And the bottom is a darkness impenetrable. And between | |
| the two are great fishes, which are to be feared." | |
| Niffari, circa 970 | |
| : arabi_veils | |
| There is nothing in existence but veils hung down. | |
| Acts of perception attach themselves | |
| only to veils, | |
| which leave traces in the owner | |
| of the eye that perceives them. | |
| ibn Arabi, 1231 | |
| : tagore_voyage | |
| I thought my voyage had come to its end | |
| at the last limit of my power — | |
| that the path before me was closed, | |
| the provisions exhausted, | |
| and the time come to take shelter in silent obscurity. | |
| But I find that thy will knows no end in me | |
| And when words die out on the tongue, | |
| new melodies break forth from the heart; | |
| And where old tracks are lost, | |
| New country is revealed with its wonders. | |
| : tagore_end | |
| Ever in my life have I sought thee with my songs. | |
| It was they who led me from door to door, | |
| and with them I have felt about me, | |
| searching and touching my world. | |
| It was my songs that taught me | |
| all the lessons I ever learnt; | |
| they showed me secret paths, | |
| they brought before my sight many a star | |
| on the horizon of my heart. | |
| They guided me all the day long | |
| to the mysteries of the country of pleasure and pain, | |
| and, at last, | |
| to what palace gate have they brought me | |
| in the evening at the end of my journey? | |
| : tagore_boast | |
| I boasted among men that I had known you. | |
| They see your pictures in all works of mine. | |
| They come and ask me, "Who is he?" | |
| I know not how to answer them. | |
| I say, "Indeed, I cannot tell." | |
| They blame me and they go away in scorn. | |
| And you sit there smiling. | |
| I put my tales of you into lasting songs. | |
| The secret gushes out from my heart. | |
| They come and ask me, | |
| "Tell me all your meanings." | |
| I know not how to answer them. | |
| I say, "Ah, who knows what they mean!" | |
| They smile and go away in utter scorn. | |
| And you sit there smiling. | |
| - Rabindranath Tagore, 1910 | |
| : endgame | |
| a star at dawn | |
| : bubble_in_stream | |
| a bubble in a stream | |
| : flash_of_lightning | |
| a flash of lightning in a summer cloud | |
| : flickering_lamp | |
| a flickering lamp | |
| : a_phantom | |
| a phantom | |
| : and_a_dream | |
| and a dream. | |
| : hofstadter_activation | |
| Our hangnails are incredibly real to us; | |
| whereas to most of us, the English village of Nether Wallop | |
| and the high Himalayan country of Bhutan, | |
| not to mention the slowly swirling spiral galaxy in Andromeda, | |
| are considerably less real, | |
| even though our intellectual selves might wish to insist | |
| that since the latter are much bigger and longer-lasting | |
| than our hangnails, | |
| they ought therefore to be far realer to us | |
| than our hangnails are. | |
| We can say this to ourselves till we’re blue in the face, | |
| but few of us act as if we really believed it. | |
| A slight slippage of subterranean stone | |
| that obliterates 20,000 people in some far-off land, | |
| the ceaseless plundering of virgin jungles in the Amazon basin, | |
| a swarm of helpless stars being swallowed up | |
| one after another by a ravenous black hole, | |
| even an ongoing collision between two huge galaxies | |
| each of which contains a hundred billion stars — | |
| such colossal events are so abstract to someone like me | |
| that they can’t even touch the sense of urgency and importance, | |
| and thus the reality, of some measly little hangnail | |
| on my left hand’s pinky. | |
| We are all egocentric, and what is realest to each of us, in the | |
| end, is ourself. | |
| The realest things of all are | |
| my knee, my nose, my anger, my hunger, | |
| my toothache, my sideache, my sadness, my joy, | |
| my love for math, my abstraction ceiling, and so forth. | |
| What all these things have in common, what binds them together, | |
| is the concept of "my", | |
| which comes out of the concept of "I" or "me", | |
| and therefore, | |
| although it is less concrete than a nose or even a toothache, | |
| this "I" thing is what ultimately seems to each of us | |
| to constitute the most solid rock of undeniability of all. | |
| Could it possibly be an illusion? | |
| Or if not a total illusion, could it possibly be less real | |
| and less solid than we think it is? | |
| Could an "I" be more like an elusive, receding, | |
| shimmering rainbow | |
| than like a tangible, heftable, transportable pot of gold? | |
| Douglas Hofstadter, 2007 | |
| : heisenberg_on_pauli | |
| The physicist Wolfgang Pauli once spoke | |
| of two limiting conceptions, | |
| both of which have been extraordinarily fruitful | |
| in the history of human thought, | |
| although no genuine reality corresponds to them. | |
| At one extreme is the idea of an objective world, | |
| pursuing its regular course in space and time, | |
| independently of any kind of observing subject; | |
| this has been the guiding image of modern science. | |
| At the other extreme is the idea of a subject, | |
| mystically experiencing the unity of the world | |
| and no longer confronted by an object | |
| or by any objective world; | |
| this has been the guiding image of Asian mysticism. | |
| Our thinking moves somewhere in the middle, | |
| between these two limiting conceptions; | |
| we should maintain the tension resulting | |
| from these two opposites. | |
| Werner Heisenberg, 1974 | |
| : zen_points_beyond_language | |
| In a sense, what modern physics is to the history of Western thought, | |
| Zen is to the development of the Eastern worldview: | |
| the ultimate refinement of more than two thousand years | |
| of incisive debate, discussion, and critical development. | |
| Yet the difference between the two could hardly be more marked. | |
| Whereas physics is interested above all | |
| in theories, concepts, and formulas, | |
| Zen values only the concrete and the simple. | |
| Zen wants facts — not in the Western sense of things | |
| that are measurable and numerical (which are, in fact, abstractions!) | |
| but as living, immediate, and tangible. | |
| Its approach to understanding is not to theorize | |
| because it recognizes that previously accumulated ideas and knowledge — | |
| in other words, memories of all kinds — | |
| block the direct perception of reality. | |
| Therefore, Zen adopts an unusual approach. | |
| Its buildup involves language — which is unavoidable. | |
| Any method, even if it turns out to be an antimethod, | |
| has first to convey some background in order to be effective. | |
| But the way Zen uses language is always to point | |
| beyond language, beyond concepts to the concrete. | |
| David Darling, 1996 | |
| : zen_physics_intellectual_catastrophe | |
| Two major schools of Zen exist in Japan: | |
| the Rinzai and the Soto. | |
| Both have the same goal, of seeing the world unmediated, | |
| but their approaches are different. | |
| In the Soto school, the emphasis is on quiet contemplation | |
| in a seated position without a particular focus for thought. | |
| The method in the Rinzai school, however, | |
| is to put the intellect to work on problems | |
| that have no logical resolution. | |
| Such problems are known as koans, | |
| from the Chinese kung-an meaning “public announcement.” | |
| Some are mere questions, for example: | |
| “When your mind is not dwelling | |
| on the dualism of good and evil, | |
| what is your original face before you were born?” | |
| Others are set in a question-and-answer form, like: | |
| “What is the Buddha?” | |
| Answer: “Three pounds of flax” | |
| or “The cypress tree in the courtyard” | |
| (to name but two of the classic responses). | |
| According to tradition | |
| there are seventeen hundred such conundrums | |
| in the Zen repertoire. | |
| And their common aim is | |
| to induce a kind of intellectual catastrophe, | |
| a sudden jump | |
| which lifts the individual out of the domain of words and reason | |
| into a direct, nonmediated experience known as satori. | |
| Zen differs from other meditative forms, | |
| including other schools of Buddhism, | |
| in that it does not start from where we are | |
| and gradually lead us to a clear view | |
| of the true way of the world. | |
| It is not a progressive system in this respect. | |
| The sole purpose of studying Zen is to have Zen experiences — | |
| sudden moments, like flashes of lightning, | |
| when the intellect is short-circuited | |
| and there is no longer a barrier | |
| between the experiencer and reality. | |
| David Darling, 1996 | |
| : feynman_wine | |
| A poet once said, "The whole universe is in a glass of wine." | |
| We will probably never know in what sense he meant that, | |
| for poets do not write to be understood. | |
| But it is true that if we look at a glass of wine | |
| closely enough we see the entire universe. | |
| There are the things of physics: | |
| the twisting liquid which evaporates | |
| depending on the wind and weather, | |
| the reflections in the glass, | |
| and our imagination adds the atoms. | |
| The glass is a distillation of the earth’s rocks, | |
| and in its composition we see the secrets of the | |
| universe’s age, and the evolution of stars. | |
| What strange array of chemicals are in the wine? | |
| How did they come to be? | |
| There are the ferments, the enzymes, | |
| the substrates, and the products. | |
| There in wine is found the great generalization: | |
| all life is fermentation. | |
| Nobody can discover the chemistry of wine without discovering, | |
| as did Louis Pasteur, the cause of much disease. | |
| How vivid is the claret, pressing its existence | |
| into the consciousness that watches it! | |
| If our small minds, for some convenience, | |
| divide this glass of wine, this universe, into parts — | |
| physics, biology, geology, astronomy, | |
| psychology, and so on — | |
| remember that nature does not know it! | |
| So let us put it all back together, | |
| not forgetting ultimately what it is for. | |
| Let it give us one more final pleasure: | |
| drink it and forget it all! | |
| Richard Feynman, 1963 | |
| : feynman_uncertainty_of_science | |
| If we were not able or did not desire to look in any new direction, | |
| if we did not have a doubt or recognize ignorance, | |
| we would not get any new ideas. | |
| There would be nothing worth checking, | |
| because we would know what is true. | |
| So what we call scientific knowledge today | |
| is a body of statements of varying degrees of certainty. | |
| Some of them are most unsure; some of them are nearly sure; | |
| but none is absolutely certain. Scientists are used to this. | |
| We know that it is consistent to be able to live and not know. | |
| Some people say, | |
| “How can you _live_ without knowing?” I do not know what they mean. | |
| I always live without knowing. That is easy. | |
| How you get to know is what I want to know. | |
| This freedom to doubt is an important matter in the sciences | |
| and, I believe, in other fields. | |
| It was born of a struggle. | |
| It was a struggle to be permitted to doubt, to be unsure. | |
| And I do not want us to forget the importance of the struggle | |
| and, by default, to let the thing fall away. | |
| I feel a responsibility as a scientist | |
| who knows the great value | |
| of a satisfactory philosophy of ignorance, | |
| and the progress made possible by such a philosophy, | |
| progress which is the fruit of freedom of thought. | |
| I feel a responsibility to proclaim the value of this freedom | |
| and to teach that doubt is not to be feared, | |
| but that it is to be welcomed | |
| as the possibility of a new potential for human beings. | |
| If you know that you are not sure, | |
| you have a chance to improve the situation. | |
| I want to demand this freedom for future generations. | |
| Richard Feynman, 1963 | |
| : feynman_atoms_with_curiosity | |
| It is a great adventure to contemplate the universe, beyond man, | |
| to contemplate what it would be like without man, | |
| as it was in a great part of its long history | |
| and as it is in a great majority of places. | |
| When this objective view is finally attained, | |
| and the mystery and majesty of matter are fully appreciated, | |
| to then turn the objective eye back on man viewed as matter, | |
| to view life as part of this universal mystery | |
| of the greatest depth, | |
| is to sense an experience which is very rare, and very exciting. | |
| It usually ends in laughter and a delight in the futility | |
| of trying to understand what this atom in the universe is, | |
| this thing — atoms with curiosity — | |
| that looks at itself and wonders why it wonders. | |
| Well, these scientific views end in awe and mystery, | |
| lost at the edge in uncertainty, | |
| but they appear to be so deep and so impressive | |
| that the theory that it is all arranged as a stage for God to watch | |
| man’s struggle for good and evil seems inadequate. | |
| Some will tell me | |
| that I have just described a religious experience. | |
| Very well, you may call it what you will. | |
| Then, in that language I would say | |
| that the young man’s religious experience is of such a kind | |
| that he finds the religion of his church inadequate to describe, | |
| to encompass that kind of experience. | |
| The God of the church isn’t big enough. | |
| Richard Feynman, 1963 | |
| : einstein_searchers | |
| Of all the communities available to us, | |
| there is not one I would want to devote myself to, | |
| except for the society of true searchers | |
| which has very few living members at any time. | |
| Albert Einstein, 1924 | |
| : cezanne_motif | |
| “You see, a motif is this...” | |
| (He put his hands together, drew them apart, the ten fingers open, | |
| then slowly, very slowly brought them together again, clasped them, | |
| squeezed them tightly, meshing them.) | |
| “That’s what one should try to achieve. | |
| If one hand is held too high or too low, it won’t work. | |
| Not a single link should be too slack, leaving a hole through which the emotion, | |
| the light, the truth can escape. | |
| You must understand that I work on the whole canvas, | |
| on everything at once. | |
| With one impulse, with undivided faith, | |
| I approach all the scattered bits and pieces. | |
| Everything we see falls apart, vanishes, doesn’t it? | |
| Nature is always the same, but nothing in her that appears to us, lasts. | |
| Our art must render the thrill of her permanence | |
| along with her elements, | |
| the appearance of all her changes. | |
| It must give us a taste of her eternity. | |
| What is there underneath? Maybe nothing. | |
| Maybe everything. | |
| Everything, you understand! | |
| So I bring together her wandering hands. | |
| I take something at right, something at left, | |
| here, there, everywhere, | |
| her tones, her colors, her nuances, | |
| I set them down, I bring them together. | |
| They form lines. They become objects, | |
| rocks, trees, without my planning. | |
| They take on volume, value. | |
| If these volumes, these values, correspond on my canvas, | |
| in my sensibility, to the planes, | |
| to the spots ... which are there before our eyes, | |
| then my canvas has brought its hands together. | |
| It does not waver. | |
| The hands have been joined neither too high nor too low. | |
| My canvas is true, compact, full. | |
| But if there is the slightest distraction, | |
| if I fail just a little bit, above all if I interpret too much one day, | |
| if today I am carried away by a theory | |
| which runs counter to that of yesterday, | |
| if I think while I paint, if I meddle, | |
| whoosh! everything goes to pieces. | |
| Paul Cezanne as related by Joachim Gasquet, 1921 | |
| : eddington_entering_a_room | |
| I am standing on the threshold about to enter a room. | |
| It is a complicated business. | |
| In the first place, I must shove against an atmosphere | |
| pressing with a force of fourteen pounds | |
| on every square inch of my body. | |
| I must make sure of landing on a plank | |
| travelling at twenty miles a second round the sun — | |
| a fraction of a second too early or too late, | |
| the plank would be miles away. | |
| I must do this whilst hanging from a round planet | |
| head outward into space, | |
| and with a wind of aether blowing | |
| at no one knows how many miles a second | |
| through every interstice of my body. | |
| The plank has no solidity of substance. | |
| To step on it is like stepping on a swarm of flies. | |
| Shall I not slip through? | |
| No, if I make the venture one of the flies hits me | |
| and gives a boost up again; | |
| I fall again and am knocked upwards by another fly; | |
| and so on. | |
| I may hope that the net result will be that I remain about steady, | |
| but if, unfortunately, I should slip through the floor | |
| or be boosted too violently up to the ceiling, | |
| the occurrence would be, not a violation of the laws of Nature, | |
| but a rare coincidence. These are some of the minor difficulties. | |
| I ought really to look at the problem four-dimensionally | |
| as concerning the intersection of my world-line | |
| with that of the plank. | |
| Then again, it is necessary to determine | |
| in which direction the entropy of the world is increasing | |
| in order to make sure that my passage over the threshold | |
| is an entrance, not an exit. | |
| Verily, it is easier for a camel to pass through the eye of a needle | |
| than for a scientific man to pass through a door. | |
| And whether the door be barn door or church door | |
| it might be wiser | |
| that he should consent to be an ordinary man and walk in | |
| rather than wait till all the difficulties involved | |
| in a really scientific ingress | |
| are resolved. | |
| Arthur Eddington, 1927 | |
| : eddington_eyes | |
| As scientists, we realise that colour is merely a question | |
| of the wavelengths of aethereal vibrations, | |
| but that does not seem to have dispelled the feeling | |
| that eyes which reflect light near wavelength 4800 | |
| are a subject for rhapsody | |
| whilst those which reflect wavelength 5300 | |
| are left unsung. | |
| We have not yet reached the practice of the Laputans, who, | |
| “if they would, for example, praise the beauty of a | |
| woman, or any other animal, | |
| “they describe it by rhombs, circles, | |
| parallelograms, ellipses, and other geometrical terms.” | |
| The materialist who is convinced that all phenomena | |
| arise from electrons and quanta and the like | |
| controlled by mathematical formulae, | |
| must presumably hold the belief | |
| that his wife is a rather elaborate differential equation, | |
| but he is probably tactful enough | |
| not to obtrude this opinion in domestic life. | |
| If this kind of scientific dissection | |
| is felt to be inadequate and irrelevant | |
| in ordinary personal relationships, | |
| it is surely out of place | |
| in the most personal relationship of all — | |
| that of the human soul to a divine spirit. | |
| Arthur Eddington, 1927 | |
| : eddington_humor | |
| We have two kinds of knowledge which I call symbolic and intimate. | |
| I do not know whether it would be correct to say | |
| that reasoning is only applicable to symbolic knowledge, | |
| but the more customary forms of reasoning | |
| have been developed for symbolic knowledge only. | |
| The intimate knowledge will not submit to codification and analysis, | |
| or, rather, when we attempt to analyse it | |
| the intimacy is lost and replaced by symbolism. | |
| For an illustration let us consider Humour. | |
| I suppose that humour can be analysed to some extent | |
| and the essential ingredients | |
| of the different kinds of wit classified. | |
| Suppose that we are offered an alleged joke. | |
| We subject it to scientific analysis | |
| as we would a chemical salt of doubtful nature, | |
| and perhaps after careful consideration | |
| we are able to confirm | |
| that it really and truly is a joke. | |
| Logically, I suppose, our next procedure would be to laugh. | |
| But it may certainly be predicted | |
| that as the result of this scrutiny | |
| we shall have lost all inclination we ever had | |
| to laugh at it. | |
| It simply does not do to expose the workings of a joke. | |
| The classification concerns a symbolic knowledge of humour | |
| which preserves all the characteristics of a joke | |
| except its laughableness. | |
| The real appreciation must come spontaneously, | |
| not introspectively. | |
| I think this is a not unfair analogy | |
| for our mystical feeling for Nature, | |
| and I would venture even to apply it | |
| to our mystical experience of God. | |
| There are some to whom the sense | |
| of a divine presence irradiating the soul | |
| is one of the most obvious things of experience. | |
| In their view, a man without this sense | |
| is to be regarded | |
| as we regard a man without a sense of humour. | |
| The absence is a kind of mental deficiency. | |
| We may try to analyse the experience as we analyse humour, | |
| and construct a theology, | |
| or it may be an atheistic philosophy... | |
| But let us not forget that the theology is symbolic knowledge, | |
| whereas the experience is intimate knowledge. | |
| And as laughter cannot be compelled | |
| by the scientific exposition of the structure of a joke, | |
| so a philosophic discussion of the attributes of God | |
| (or an impersonal substitute) | |
| is likely to miss the intimate response of the spirit | |
| which is the central point of the religious experience. | |
| Arthur Eddington, 1927 | |
| : eddington_generation_of_waves | |
| One day I happened to be occupied with the subject of | |
| “Generation of Waves by Wind.” | |
| I took down the standard treatise on hydrodynamics, | |
| and under that heading I read — | |
| If the external forces p’ yy, p’ xy be given | |
| multiples of e ** (ikx + at), where k and a are prescribed, | |
| the equations in question determine A and C, | |
| and thence, by (9) the value of eta.... | |
| And so on for two pages. At the end, it is made clear | |
| that a wind of less than half a mile an hour | |
| will leave the surface unruffled. | |
| At a mile an hour the surface is covered | |
| with minute corrugations due to capillary waves | |
| which decay immediately if the disturbing cause ceases. | |
| At two miles an hour the gravity waves appear. | |
| As the author modestly concludes, | |
| “Our theoretical investigations give considerable | |
| insight into the incipient stages of wave-formation.” | |
| On another occasion the same subject | |
| of “Generation of Waves by Wind” | |
| was in my mind; | |
| but this time another book was more appropriate, | |
| and I read — | |
| There are waters blown by changing winds to laughter | |
| And lit by the rich skies, all day. And after, | |
| Frost, with a gesture, stays the waves that dance | |
| And wandering loveliness. He leaves a white | |
| Unbroken glory, a gathered radiance, | |
| A width, a shining peace, under the night. | |
| The magic words bring back the scene. | |
| Again we feel Nature drawing close to us, | |
| uniting with us, | |
| til we are filled with the gladness of the waves | |
| dancing in the sunshine, | |
| with the awe of the moonlight on the frozen lake. | |
| These were not moments when we fell below ourselves. | |
| We do not look back on them and say, | |
| “It was disgraceful for a man with six sober senses | |
| and a scientific understanding | |
| to let himself be deluded in that way. | |
| “I will take Lamb’s Hydrodynamics with me next time.” | |
| It is good that there should be such moments for us. | |
| Life would be stunted and narrow | |
| if we could feel no significance in the world around us | |
| beyond that which can be weighed and measured | |
| with the tools of the physicist | |
| or described by the metrical symbols of the mathematician. | |
| Of course, it was an illusion. | |
| We can easily expose the rather clumsy trick | |
| that was played on us. | |
| Aethereal vibrations of various wavelengths, | |
| reflected at different angles | |
| from the disturbed interface between air and water, | |
| reached our eyes, and by photoelectric action | |
| caused appropriate stimuli to travel along the optic nerves | |
| to a brain-centre. | |
| Here the mind set to work | |
| to weave an impression out of the stimuli. | |
| The incoming material was somewhat meagre, | |
| but the mind is a great storehouse of associations | |
| that could be used to clothe the skeleton. | |
| Having woven an impression, the mind | |
| surveyed all that it had made | |
| and decided that it was very good. | |
| The critical faculty was lulled. | |
| We ceased to analyse and were conscious | |
| only of the impression as a whole. | |
| The warmth of the air, the scent of the grass, | |
| the gentle stir of the breeze, | |
| combined with the visual scene | |
| in one transcendent impression, | |
| around us and within us. | |
| Associations emerging from their storehouse grew bolder. | |
| Perhaps we recalled the phrase “rippling laughter.” | |
| Waves—ripples—laughter—gladness—the ideas jostled one another. | |
| Quite illogically, we were glad, | |
| though what there can possibly be to be glad about | |
| in a set of aethereal vibrations | |
| no sensible person can explain. | |
| A mood of quiet joy suffused the whole impression. | |
| The gladness in ourselves was in Nature, | |
| in the waves, everywhere. | |
| That’s how it was. | |
| It was an illusion. Then why toy with it longer? | |
| These airy fancies which the mind, | |
| when we do not keep it severely in order, | |
| projects into the external world | |
| should be of no concern to the earnest seeker after truth. | |
| Get back to the solid substance of things, | |
| to the material of the water moving | |
| under the pressure of the wind | |
| and the force of gravitation | |
| in obedience to the laws of hydrodynamics. | |
| But the solid substance of things is another illusion. | |
| It too is a fancy projected by the mind | |
| into the external world. | |
| We have chased the solid substance | |
| from the continuous liquid to the atom, | |
| from the atom to the electron, | |
| and there we have lost it. | |
| But at least, it will be said, | |
| we have reached something real at the end of the chase — | |
| the protons and electrons. | |
| Or, if the new quantum theory condemns these images | |
| as too concrete and leaves us with no coherent images at all, | |
| at least we have symbolic coordinates and momenta and Hamiltonian | |
| functions devoting themselves with single-minded purpose to ensuring | |
| that qp-pq shall be equal to ih/2π. | |
| I have tried to show that by following this course | |
| we reach a cyclic scheme which, from its very nature, | |
| can only be a partial expression of our environment. | |
| It is not reality but the skeleton of reality. | |
| “Actuality” has been lost in the exigencies of the chase. | |
| Having first rejected the mind as a worker of illusion | |
| we have in the end to return to the mind and say, | |
| “Here are worlds well and truly built | |
| on a basis more secure than your fanciful illusions. | |
| But there is nothing to make any one of them an actual world. | |
| “Please choose one and weave your fanciful images into it. | |
| That alone can make it actual.” | |
| We have torn away the mental fancies | |
| to get at the reality beneath, | |
| only to find that the reality of that which is beneath | |
| is bound up with its potentiality of awakening these fancies. | |
| It is because the mind, the weaver of illusion, | |
| is also the only guarantor of reality | |
| that reality is always to be sought at the base of illusion. | |
| Illusion is to reality as the smoke to the fire. | |
| I will not urge that hoary untruth “There is no smoke without fire”. | |
| But it is reasonable to inquire whether, | |
| in the mystical illusions of man, | |
| there is not a reflection of an underlying reality. | |
| Arthur Eddington, 1927 | |
| : schweickart_eva | |
| Up there you go around every hour and a half, | |
| time after time after time. | |
| You wake up usually in the mornings. | |
| And just the way that the track of your orbits go, | |
| you wake up over the Mid-East, over North Africa. | |
| As you eat breakfast you look out the window as you’re going past | |
| and there’s the Mediterranean area, | |
| and Greece, and Rome, and North Africa, | |
| and the Sinai, the whole area. | |
| And you realize that in one glance that | |
| what you’re seeing is what was the whole history of man for years — | |
| the cradle of civilization.... | |
| And you go around down across North Africa | |
| and out over the Indian Ocean, | |
| and look up at that great subcontinent of India | |
| pointed down toward you as you go past it. | |
| And Ceylon off to the side, Burma, Southeast Asia, | |
| out over the Philippines, | |
| and up across that monstrous Pacific Ocean, | |
| vast body of water — | |
| you’ve never realized how big that is before. | |
| And you finally come up across the coast of California | |
| and look for those friendly things: | |
| Los Angeles, and Phoenix, and on across El Paso | |
| and there’s Houston, there’s home, | |
| and you look and sure enough there’s the Astrodome. | |
| And you identify with that, you know — | |
| it’s an attachment. | |
| And down across New Orleans and then looking down to the south | |
| and there’s the whole peninsula of Florida laid out. | |
| And all the hundreds of hours | |
| you spent flying across that route, | |
| down in the atmosphere, | |
| all that is friendly again. | |
| And you go out across the Atlantic Ocean and back across Africa. | |
| And you do it again and again and again. | |
| And that identity - that you identify with Houston, | |
| and then you identify with Los Angeles, | |
| and Phoenix and New Orleans and everything. | |
| And the next thing you recognize in yourself, | |
| is you’re identifying with North Africa. | |
| You look forward to that, you anticipate it. | |
| And there it is. | |
| That whole process begins to shift | |
| of what it is you identify with. | |
| When you go around it in an hour and a half | |
| you begin to recognize | |
| that your identity is with that whole thing. | |
| And that makes a change. | |
| You look down there and you can’t imagine | |
| how many borders and boundaries you crossed | |
| again and again and again. | |
| And you don’t even see ’em. | |
| At that wake-up scene — the Mid-East — | |
| you know there are hundreds of people killing each other | |
| over some imaginary line that you can’t see. | |
| From where you see it, the thing is a whole, | |
| and it’s so beautiful. | |
| And you wish you could take one from each side in hand | |
| and say, | |
| “Look at it from this perspective. | |
| Look at that. What’s important?” | |
| And so a little later on, your friend, those same neighbors, | |
| another astronaut, the person next to you goes out to the Moon. | |
| And now he looks back and sees the Earth not as something big, | |
| where he can see the beautiful details, | |
| but he sees the Earth as a small thing out there. | |
| And now that contrast between | |
| that bright blue and white Christmas tree ornament | |
| and that black sky, that infinite universe, | |
| really comes through. | |
| The size of it, the significance of it — | |
| it becomes both things, | |
| it becomes so small and so fragile, | |
| and such a precious little spot in that universe, | |
| that you can block it out with your thumb, | |
| and you realize that on that small spot, | |
| that little blue and white thing | |
| is everything that means anything to you. | |
| All of history and music and poetry and art | |
| and war and death and birth and love, tears, joy, | |
| games, | |
| all of it is on that little spot out there | |
| that you can cover with your thumb. | |
| And you realize that that perspective ... | |
| that you’ve changed, that there’s something new there. | |
| That relationship is no longer what it was. | |
| And then you look back on the time | |
| when you were outside on that EVA | |
| and those few moments that you had the time | |
| because the camera malfunctioned, | |
| that you had the time to think about what was happening. | |
| And you recall staring out there at the spectacle | |
| that went before your eyes. Because now | |
| you’re no longer inside something | |
| with a window looking out at a picture, | |
| but now you’re out there | |
| and what you’ve got around your head | |
| is a goldfish bowl and there are no limits here. | |
| There are no frames, there are no boundaries. | |
| You’re really out there, over it, floating, | |
| going 25,000 mph, ripping through space, | |
| a vacuum, and there’s not a sound. | |
| There’s a silence | |
| the depth of which you’ve never experienced before, | |
| and that silence contrasts so markedly with the scenery, | |
| and the speed with which you know you’re going. | |
| That contrast, the mix of those two things, | |
| really comes through. | |
| And you think about what you’re experiencing and why. | |
| Do you deserve this? This fantastic experience? | |
| Have you earned this in some way? | |
| Are you separated out to be touched by God | |
| to have some special experience here | |
| that other men cannot have? | |
| You know the answer to that is No. | |
| There’s nothing that you’ve done that deserves that, | |
| that earned that. | |
| It’s not a special thing for you. | |
| You know very well at that moment, | |
| and it comes through to you so powerfully, | |
| that you’re the sensing element for man. | |
| You look down and see the surface of that globe | |
| that you’ve lived on all this time | |
| and you know all those people down there. | |
| They are like you, they are you, | |
| and somehow you represent them when you are up there — | |
| a sensing element, that point out on the end, | |
| and that’s a humbling feeling. | |
| It’s a feeling that says you have a responsibility. | |
| It’s not for yourself. | |
| The eye that doesn’t see does not do justice to the body. | |
| That’s why it’s there, that’s why you’re out there. | |
| And somehow you recognize that you’re a piece of this total life. | |
| You’re out on that forefront | |
| and you have to bring that back, somehow. | |
| And that becomes a rather special responsibility. | |
| It tells you something about your relationship | |
| with this thing we call life.... | |
| And when you come back, there’s a difference in that world now, | |
| there’s a difference in that relationship | |
| between you and that planet, | |
| and you and all those other forms of life on that planet, | |
| because you’ve had that kind of experience. | |
| It’s a difference, | |
| and it’s so precious. | |
| And all through this I’ve used the word “you” | |
| because it’s not me, it’s not Dave Scott, | |
| it’s not Dick Gordon, Pete Conrad, John Glenn, | |
| it’s you, it’s us, it’s we, it’s life. | |
| It’s had that experience. | |
| And it’s not just my problem to integrate, | |
| it’s not my challenge to integrate, my joy to integrate — | |
| it’s yours, it’s everybody’s. | |
| Russell Schweickart, 1975. | |
| : skinner_autonomy | |
| In the traditional view a person is free. | |
| He is autonomous in the sense that his behavior is uncaused... | |
| That view, together with its associated practices, | |
| must be re-examined when a scientific analysis | |
| reveals unexpected controlling relations | |
| between behaviour and environment.... | |
| By questioning the control exercised by autonomous man | |
| and demonstrating the control exercised by the environment, | |
| a science of behavior also seems to question dignity or worth. | |
| A person is responsible for his behavior, | |
| not only in the sense that he may be | |
| justly blamed or punished when he behaves badly, | |
| but also in the sense that he is to be given credit | |
| and admired for his achievements. | |
| A scientific analysis shifts the credit as well as the blame | |
| to the environment, | |
| and traditional practices can then no longer be justified. | |
| These are sweeping changes, | |
| and those who are committed to traditional theories and practices | |
| naturally resist them.... | |
| As the emphasis shifts to the environment, | |
| the individual seems to be exposed | |
| to a new kind of danger. | |
| Who is to construct the controlling environment | |
| and to what end? | |
| Autonomous man presumably controls himself | |
| in accordance with a built-in set of values; | |
| he works for what he finds good. | |
| But what will the putative controller find good, | |
| and will it be good for those he controls? | |
| Answers to questions of this sort are said, of course, | |
| to call for value judgements. | |
| B.F. Skinner, 1971 | |
| : skinner_reciprocal | |
| The relation between the controller and the controlled | |
| is reciprocal. | |
| The scientist in the laboratory, | |
| studying the behavior of a pigeon, | |
| designs contingencies and observes their effects. | |
| His apparatus exerts a conspicuous control on the pigeon, | |
| but we must not overlook the control exerted by the pigeon. | |
| The behavior of the pigeon | |
| has determined the design of the apparatus | |
| and the procedures in which it is used. | |
| Some such reciprocal control is characteristic of all science. | |
| As Francis Bacon put it, | |
| nature to be commanded must be obeyed. | |
| The scientist who designs a cyclotron | |
| is under the control of the particles he is studying. | |
| The behavior with which a parent controls his child, | |
| either aversively or through positive reinforcement, | |
| is shaped and maintained by the child's responses. | |
| A psychotherapist changes the behavior of his patient | |
| in ways which have been shaped and maintained | |
| by his success in changing that behavior. | |
| A government or religion prescribes and imposes sanctions | |
| selected by their effectiveness | |
| in controlling citizen or communicant. | |
| An employer induces his employees | |
| to work industriously and carefully | |
| with wage systems | |
| determined by their effects on behavior. | |
| The classroom practices of the teacher | |
| are shaped and maintained | |
| by the effects on his students. | |
| In a very real sense, then, | |
| the slave controls the slave driver, | |
| the child the parent, | |
| the patient the therapist, the citizen the government, | |
| the communicant the priest, the employee the employer, | |
| and the student the teacher. | |
| B.F. Skinner, 1971 | |
| : gangaji_silence | |
| When we choose silence, | |
| we choose to give up the reasons not to love, | |
| which are the reasons for going to war, or continuing war, | |
| or separating, or being a victim, or being right. | |
| In a moment of silence, | |
| in a moment of no thought, no mind, | |
| we choose to give those up. | |
| This is what my teacher invited me to. | |
| Just choose silence. Don't even choose love. | |
| Choose silence, and love is apparent. | |
| If we choose love we already have an idea | |
| of what love is. | |
| But if you choose silence, that is the end of ideas. | |
| You are willing to have no idea, | |
| to see what is present when there is no idea, | |
| past, present, future. | |
| No idea of love, no idea of truth, no idea of you, | |
| no idea of me. Love is apparent. | |
| Gangaji, 2009 | |
| : kingsmill | |
| What is divine in man is elusive and impalpable, | |
| and he is easily tempted to embody it in a concrete form – | |
| a church, a country, a social system, a leader – | |
| so that he may realize it with less effort | |
| and serve it with more profit. | |
| Yet the attempt to externalize the kingdom of heaven | |
| in a temporal shape must end in disaster. | |
| It cannot be created by charters or constitutions | |
| nor established by arms. | |
| Those who seek for it alone will reach it together, | |
| and those who seek it in company will perish by themselves. | |
| Hugh Kingsmill, 1944 | |
| : denck_nobody_finds | |
| O my God, how does it happen in this poor old world | |
| that Thou art so great and yet nobody finds Thee, | |
| that Thou callest so loudly and nobody hears Thee, | |
| that Thou art so near and nobody feels Thee, | |
| that Thou givest Thyself to everybody | |
| and nobody knows Thy name? | |
| Men flee from Thee and say they cannot find Thee; | |
| they turn their backs and say they cannot see Thee; | |
| they stop their ears and say they cannot hear Thee. | |
| Hans Denck, circa 1520 | |
| : chuang_tzu_boat | |
| Suppose a boat is crossing a river, | |
| and another empty boat is about to collide with it. | |
| Even an irritable man would not lose his temper. | |
| But supposing there was some one in the second boat. | |
| Then the occupant of the first | |
| would shout to him to keep clear. | |
| And if the other did not hear the first time, | |
| nor even when called three times, | |
| bad language would inevitably follow. | |
| In the first case there was no anger, | |
| in the second there was; | |
| because in the first case the boat was empty, | |
| and in the second it was occupied. | |
| And so it is with man. | |
| If he could only roam empty through life, | |
| who would be able to injure him? | |
| Zhuangzi, 4th century B.C. | |
| : mitchell_ttc_11 | |
| We join spokes together in a wheel, | |
| but it is the center hole | |
| that makes the wagon move. | |
| We shape clay into a pot, | |
| but it is the emptiness inside | |
| that holds whatever we want. | |
| We hammer wood for a house, | |
| but it is the inner space | |
| that makes it livable. | |
| We work with being, | |
| but non-being is what we use. | |
| Lao Tzu, 6th century BC | |
| : wordsworth_peak | |
| Lustily | |
| I dipped my oars into the silent lake, | |
| And, as I rose upon the stroke, my boat | |
| Went heaving through the water like a swan; | |
| When, from behind that craggy steep, till then | |
| The horizon's bound, a huge peak, black and huge, | |
| As if with voluntary power instinct, | |
| Upreared its head. I struck and struck again, | |
| And growing still in stature, the grim shape | |
| Towered up between me and the stars. . . . | |
| But after I had seen | |
| That spectacle, for many days my brain | |
| Worked with a dim and undetermined sense | |
| Of unknown modes of being; o'er my thoughts | |
| There hung a darkness, call it solitude, | |
| Or blank desertion. | |
| William Wordsworth, 1888 | |
| : clifford_shipowner | |
| A shipowner was about to send to sea an emigrant-ship. | |
| He knew that she was old, | |
| and not well built at the first; | |
| that she had seen many seas and climes, | |
| and often had needed repairs. | |
| Doubts had been suggested to him | |
| that possibly she was not seaworthy. | |
| These doubts preyed upon his mind, and made him unhappy; | |
| he thought that perhaps he ought to have her | |
| thoroughly overhauled and refitted, | |
| even though this should put him at great expense. | |
| Before the ship sailed, however, | |
| he succeeded in overcoming these melancholy reflections. | |
| He said to himself that she had gone safely | |
| through so many voyages and weathered so many storms | |
| that it was idle to suppose | |
| she would not come safely home from this trip also. | |
| He would put his trust in Providence, | |
| which could hardly fail to protect all these unhappy families | |
| that were leaving their fatherland | |
| to seek for better times elsewhere. | |
| He would dismiss from his mind | |
| all ungenerous suspicions | |
| about the honesty of builders and contractors. | |
| In such ways he acquired a sincere and comfortable conviction | |
| that his vessel was thoroughly safe and seaworthy; | |
| he watched her departure with a light heart, | |
| and benevolent wishes for the success of the exiles | |
| in their strange new home that was to be; | |
| and he got his insurance-money when she went down in | |
| mid-ocean and told no tales. | |
| What shall we say of him? | |
| Surely this, that he was verily guilty | |
| of the death of those families. | |
| It is admitted that he did sincerely believe | |
| in the soundness of his ship; | |
| but the sincerity of his conviction | |
| can in no wise help him, | |
| _because he had no right to believe | |
| on such evidence as was before him_. | |
| He had acquired his belief | |
| not by honestly earning it in patient investigation, | |
| but by stifling his doubts. | |
| And although in the end he may have felt so sure about it | |
| that he could not think otherwise, | |
| yet inasmuch as he had knowingly and willingly | |
| worked himself into that frame of mind, | |
| he must be held responsible for it. | |
| William K. Clifford, 1874 | |
| : clifford_busy | |
| If a man, holding a belief which he was taught in childhood | |
| or persuaded of afterwards, | |
| keeps down and pushes away any doubts | |
| which arise about it in his mind, | |
| purposely avoids the reading of books | |
| and the company of men | |
| that call into question or discuss it, | |
| and regards as impious | |
| those questions which cannot easily be asked | |
| without disturbing it — | |
| the life of that man is one long sin against | |
| mankind.... | |
| “But,” says one, “I am a busy man; | |
| “I have no time for the long course of study | |
| which would be necessary to make me in any degree | |
| a competent judge of certain questions, | |
| “or even able to understand the nature of | |
| the arguments.” | |
| Then he should have no time to believe. | |
| William K. Clifford, 1874 | |
| : brooke_the_dead | |
| These hearts were woven of human joys and cares, | |
| Washed marvellously with sorrow, swift to mirth. | |
| The years had given them kindness. Dawn was theirs, | |
| And sunset, and the colours of the earth. | |
| These had seen movement, and heard music; known | |
| Slumber and waking; loved; gone proudly friended; | |
| Felt the quick stir of wonder; sat alone; | |
| Touched flowers and furs and cheeks. All this is ended. | |
| There are waters blown by changing winds to laughter | |
| And lit by the rich skies, all day. And after, | |
| Frost, with a gesture, stays the waves that dance | |
| And wandering loveliness. He leaves a white | |
| Unbroken glory, a gathered radiance, | |
| A width, a shining peace, under the night. | |
| Rupert Brooke, 1914 | |
| : cusa_impossible | |
| Therefore, I thank you, my God, | |
| because you make clear to me | |
| that there is no other way of approaching you | |
| except that which to all humans, | |
| even to the most learned philosophers, | |
| seems wholly inaccessible and impossible. | |
| For you have shown me that you cannot be seen | |
| elsewhere than where impossibility confronts and obstructs me. | |
| O Lord, you, who are the food of the mature, | |
| have given me courage to do violence to myself, | |
| for impossibility coincides with necessity, | |
| and I have discovered that the place where you are found unveiled | |
| is girded about with the coincidence of contradictories. | |
| This is the wall of paradise, | |
| and it is there in paradise that you reside. | |
| The wall's gate is guarded by the highest spirit of reason, | |
| and unless it is overpowered, the way in will not lie open. | |
| Thus, it is on the other side | |
| of the coincidence of contradictories | |
| that you will be able to be seen | |
| and nowhere on this side. | |
| If, therefore, | |
| impossibility is necessity in your sight, O Lord, | |
| there is nothing which your sight does not see. | |
| - Nicholas of Cusa, 1453 | |
| : cusa_invisible | |
| Formerly you appeared to me, O Lord, | |
| as invisible by every creature | |
| because you are a hidden, infinite God. | |
| Infinity, however, is incomprehensible | |
| by every means of comprehending. | |
| Later you appeared to me as visible by all, | |
| for a thing exists only as you see it, | |
| and it would not actually exist unless it saw you. | |
| For your vision confers being, | |
| since your vision is your essence. | |
| Thus, my God, you are equally invisible and visible. | |
| As you are, you are invisible; | |
| as the creature is, | |
| which exists only insofar as the creature sees you, | |
| you are visible. | |
| You, therefore, my invisible God, are seen by all, | |
| and in all sight you are seen by everyone who sees. | |
| You who are invisible, | |
| who are both absolute from everything visible | |
| and infinitely superexalted, | |
| are seen in every visible thing | |
| and in every act of vision. | |
| Therefore, I must leap across this wall of invisible vision | |
| to where you are to be found. | |
| But this wall is both everything and nothing. | |
| For you, who confront | |
| as if you were both all things and nothing at all, | |
| dwell inside that high wall | |
| which no natural ability can scale by its own power. | |
| - Nicholas of Cusa, 1453 | |
| : cusa_name | |
| O Lord God, helper of those who seek you, | |
| I see you in the garden of paradise, | |
| and I do not know what I see, | |
| because I see nothing visible. | |
| I know this alone | |
| that I know that I do not know what I see | |
| and that I can never know. | |
| I do not know how to name you, | |
| because I do not know what you are. | |
| Should anyone tell me | |
| that you are named by this or that name, | |
| by the fact that one gives a name | |
| I know that it is not your name. | |
| For the wall beyond which I see you | |
| is the limit of every mode of signification by names. | |
| Should anyone express any concept | |
| by which you could be conceived, | |
| I know that this concept is not a concept of you, | |
| for every concept finds its boundary | |
| at the wall of paradise. | |
| Should anyone express any likeness | |
| and say that you ought to be conceived according to it, | |
| I know in the same way that this is not a likeness of you. | |
| So too if anyone, wishing to furnish the means | |
| by which you might be understood, | |
| should set forth an understanding of you, | |
| one is still far removed from you. | |
| For the highest wall separates you from all these | |
| and secludes you from everything that can be said or thought, | |
| because you are absolute from all the things | |
| that can fall within any concept. | |
| - Nicholas of Cusa, 1453 |
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