Favorite Quote
THE BEST ideal is the true
And other truth is none.
All glory be ascribèd to
The holy Three in One.
"The need here is a need of complete freedom for restoration as well as revolution. ... There is one metaphor of which the moderns are very fond; they are always saying, 'You can't put the clock back.' The simple and obvious answer is 'You can.' ... There is another proverb, 'As you have made your bed, so you must lie on it'; which again is simply a lie. If I have made my bed uncomfortable, please God I will make it again. We could restore the Heptarchy or the stage coaches if we chose. It might take some time to do, and it might be very inadvisable to do it; but certainly it is not impossible as bringing back last Friday is impossible. This is, as I say, the first freedom that I claim: the freedom to restore."
Cât despre noi,cu ĩncuviinţarea sfântului conciliu,credem şi mãrturisim cu Petru Lombardul cã existã o realitate unicã şi supremã,desigur incomprehensibilã şi inefabilã,cari cu adevãrat este tatã şi fiu şi duh sfânt;trei persoane ĩmpreunã,şi fiecari dintre ele ĩn particular.Şi astfel,ĩn Dumnezeu,existã numai o treime,şi nu o cuaternitate.Cãci fiecari din cele trei persoane este aceastã realitate,adicã bineĩnţeles substanţa,esenţa sau natura dumnezeieascã.Ea singurã este principiul universalitãţii fiinţelor.Ĩn afarã de ea nu este posibil de a mai gãsi o alta.Şi aceastã realitate nu este nãscãtoare,nici nãscutã,nici purceasã.Dar tatãl e cel cari dã naştere,şi fiul cari este nãscut,şi duhul sfânt cari purcede:aşa fel ĩncât deosebirile sunt ĩn persoane,şi unitatea ĩn naturã.
I am not against the abundance and superabundance of things, for we are created in both, especially in the latter. I have little patience for believers in a parsimonious world. This latter idea lies at the origins of the many dangerous forms of tyranny in our times.
(Rev. James V. Schall, S.J ., On the ‘Right’ to Be Created)
He is the man who taught me to love S. Johnson.
modern man is in no position to sit in judgment on medieval man as his moral inferior. In the Middle Ages, the national socialists would have been denounced as heretical, a papal Crusade would have been called against them, and today we would be reading books about how the Catholic Church violently and unjustly suppressed—through inquisition and Crusade—a “heretical” German movement that only wanted to wear shorts, hike through the forests, sing pagan songs, free the people from Romish superstition, advance secular learning and science, and break the political and religious power of Rome. We've heard that story many times before, as with the romanticization of the Cathars.
(H. W. Crocker III, Monasteries and Madrassas)
“Regular readers of this column don’t need to be reminded that I loathe postmodernism. The difference is that Anderson has here enlisted postmodern irony in the service of underscoring a quintessentially postmodern problem: the way in which postmodern man uses irony to insulate himself from feeling. As we learn in the course of The Life Aquatic, Zissou was once an idealistic young man who loved the sea for its own sake; then he chose to use it as a means to fame and fortune, and his love curdled and grew sour. By trading cynically on his youthful passion, Zissou has lost touch with his inner life. Not only does he now make voyages solely in order to film them, but he lives for the same reason: Everything he does is fodder for his movies. Hence the boredom bordering on paralysis that has him in its grip, which is, as any proper theologian will instantly recognize, a classic symptom of accidie, the deadly sin of spiritual sloth. “ (Terry Teachout--The Sloth Aquatic)
“Though his acting is narrowly limited in range, Murray is a kind of comic genius when it comes to embodying accidie on screen. Twice before, in Groundhog Day and Lost in Translation, he has played terminally disillusioned characters whose souls are deadened by sloth, and done it brilliantly. He does the same thing—no less brilliantly—in The Life Aquatic, playing a contemporary cynic whose feelings are so thickly encased in a shell of irony that it’s depressing just to look at him. Everyone else in The Life Aquatic is cunningly cast (especially the amazing Cate Blanchett, that best of all possible actress-chameleons), but it’s Murray’s performance that is the film’s moral center. Is he too deeply mired in sloth to be resurrected by the prospect of love? Though we laugh at his deliciously exaggerated ennui, we still want to know the answer—and hope against hope that it’s the right one.”( Terry Teachout)
“Kirk wrote in 1963 in an autobiographical essay, “Mine was not an Enlightened mind, I now was aware: it was a Gothic mind, medieval in its temper and structure. I did not love cold harmony and perfect regularity of organization; what I sought was variety, mystery, tradition, the venerable, the awful.” Further, he continued, “the men of the Enlightenment had cold hearts and smug heads; now their successors were in the process of imposing a dreary conformity upon the world.” And, after all, what is Kirk’s The Conservative Mind if not an examination of timeless truths as recorded by Kirk’s moral exemplars from Edmund Burke to T. S. Eliot, each in his own particular time, but touched by the universals of eternity?”( Bradley J. Birzer--Conservative Gothic)
Noi Ĩl primim [pe Duhul] venind la noi şi sfinţindu—ne,ĩmpãrtãşirea dumnezeirii,fãgãduinţa moştenirii veşnice,şi ĩntâiele roade ale binelui veşnic.
« Morte et verbale, toute idée qui ne procède pas d'une expérimentation réelle de la volonté, morte surtout et fictive, toute connaissance qui ne se tourne pas à agir ... Assise en elle-même et contente de soi la pensée est un monstre : sa nature, c'est d'introduire dans le déploiement de la vie, un dynamisme progressif. Elle n'est un fruit de la vie que pour devenir un germe de vie nouvelle. »
il y a un ordre très profond, mais un ordre irrationnel parce que au-dessus de la raison, à savoir celui de la charité
c'est toujours le style de Platon, si concret et abstrait en même temps, si intuitif et analytique, qui a le plus d'affinité avec le leur. En théologie, la beauté de la forme, chez certains d'entre eux, reste inégalée et peut-être inégalable, autant que la sublimité et la beauté du fond
Nous leur dirons donc, pour employer le langage de Platon, qu'il y a le monde de ce qui ‘devient' mais n’’est' jamais, et le monde de ce qui ‘est' mais ne 'devient' jamais. Et le propre du génie dans tous les domaines, qu'il s'appelle Platon ou Chrysostome, Phidias ou Dostoïevski, Beethoven ou Shakespeare, Einstein ou Pascal, c'est, par-delà les ombres évanescentes, de percevoir et traduire ce dernier monde. C'est pourquoi les Pères resteront vivants et sources de vie et de pensée, tant qu'il y aura des êtres humains sur cette terre.
It is a rare occurrence for culture and taste to reach so high a level in one man, who, moreover, was free of all ideological shackles. I have said that Gide, like Jean-Jacques and Chateaubriand, will live on only in those of his books which treat directly of himself: Si le grain ne meurt and the Journal, because it is he who interests us, and not the creatures of his invention. But I was forgetting that he remains the one and only subject of his imaginative books: L'Immoralist is he: La Porte etroite describes the cerebral love on which he built the painful ambiguity of his life. All through Les Faux-Monnayeurs which, taken by and large, is a failure, runs the pulsating vein of Edouard's Journal. His presence in everything he wrote gives us a lasting quality to his work.
What it comes to is that he was demanding special treatment for one especial vice. Remembering the words put by Pascal in the mouth of Christ: "I love thee more fervently than thou has loved thy filth," (note 2) my conclusion is that Gide loved his filth above all else, but first of all denied that it was filth.
M. Singlin said to Pascal, "the greatest charity we can show towards the dead is to do what they would have wished us to do while they were still alive"---
In private life Dick was as dapper as his playing, and old-fashioned in all the best ways. He liked Chicago-style jazz, British tailoring, black-and-white movies, Marmite, and The New Yorker before Tina Brown got her hands on it. Not surprisingly, he was more than a little bit at odds with much of the modern world, and I suspect that he would have been vastly happier had he been born in 1908 instead of 1938.
(Teachout:” Richard M. Sudhalter, R.I.P.”)
Schopenhauer read the Latin translation of the Upanishads which were translated by a French writer Anquetil du Perron from the Persian translation of Prince Dara Shikoh named as ‘Sirre-Akbar’ (The Great Secret). He was so impressed by their philosophy that he called them 'The production of the highest human wisdom', and considered them to contain superhuman conceptions. The Upanisads was a great source of inspiration to Schopenhauer, and writing about them he said:
"It is the most satisfying and elevating reading (with the exception of the original text) which is possible in the world;' it has been the solace of my life and will be the solace of my death."
It is well-known that the book 'Oupnekhat' (Upanisad) always lay open on his table and he invariably studied it before sleeping.at night. He called the opening up of Sanskrit literature 'the greatest gift of our century'
In 1841, he praised the establishment, in London, of the Society for the Prevention of Cruelty to Animals, and also the Animals' Friends Society in Philadelphia. Schopenhauer even went so far as to protest against the use of the pronoun "it" in reference to animals because it led to the treatment of them as though they were inanimate things.[18] To reinforce his points, Schopenhauer referred to anecdotal reports of the look in the eyes of a monkey who had been shot and also the grief of a baby elephant whose mother had been killed by a hunter.[18] He was very attached to his succession of pet poodles.
Art, therefore, placed man above science and ultimately nature since it effectively goes beyond the realm of sufficient reason. Science, for Schopenhauer, shall be relegated to the boundaries of reason and, thus, the genius is precluded from entering its territory. Moreover, philosophy is not necessarily a pursuit of wisdom but, rather, it can be viewed as a means for interpreting the personal experiences of one's own life.
Schopenhauer moved south, and settled permanently in Frankfurt in 1833. There he remained for the next twenty-seven years, living alone except for a succession of pet poodles named Atma and Butz.
Schopenhauer had generally liberal views on other social issues: he was strongly against taboos on issues like suicide and homosexuality, and condemned the treatment of African slaves. Schopenhauer held a high opinion of one woman, Madame de Guyon, whose writings and biography he recommended.
Schopenhauer believed that a person inherited level of intellect through one's mother and personal character through one's father. Schopenhauer quotes Horace's saying, "From the brave and good are the brave descended" (Odes, iv, 4, 29) and Shakespeare's line from Cymbeline, "Cowards father cowards, and base things sire base" (IV, 2)
"My name is Buck, and I'm here to fuck"
"My name's Pitt, and your ass ain't talking your way out of this shit,"
"My name is Paul, and that shit's between y'all."
"If you don´t take your hand off that case, then I´m unloading your fucking face."
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English
Radu Gyr
Ne vom întoarce într-o zi
ne vom întoarce într-o zi,
ne vom întoarce neapărat.
Vor fi apusuri aurii,
cum au mai fost când am plecat.
Ne vom întoarce neapărat,
cum apele se-ntorc din nori
sau cum se-ntoarce, tremurat,
pierdutul cântec, pe viori.
Ne vom întoarce într-o zi...
Şi cei de azi cu paşii grei
nu ne-or vedea, nu ne-or simţi
cum vom pătrunde-ncet în ei.
Ne vom întoarce ca un fum,
uşori, ţinându-ne de mâni,
toţi cei de ieri în cei de-acum,
cum trec fântânile-n fântâni.
Cei vechi ne-om strecura, tiptil,
în toate dragostele noi
şi-n cântecul pe care şi-l
vor spune alţii, după noi.
În zâmbetul ce va miji
şi-n orice geamăt viitor,
tot noi vom sta, tot noi vom fi,
ca o sămânţă-n taina lor.
Noi, cei pierduţi, re-ntorşi din zări,
cu vechiul nostru duh fecund,
ne-napoiem şi-n disperări,
şi-n răni ce-n piepturi se ascund.
Şi-n lacrimi ori în mângâieri,
tot noi vom curge, zi de zi,
în tot ce mâine, ca şi ieri,
va sângera sau va iubi.