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“Altogether Too Reflective”

Søren Kierkegaard

I am well aware that as a human being I am very far from being a paradigm; if anything, I am a sample human being. With a fair degree of accuracy, I give the temperature of every mood and passion, and when I am generating my own inwardness, I understand these words: homo sum, nil humani a me alienum puto [I am a human being, I hold that nothing human is alien to me]. But humanly no one can model himself on me, and historically I am even less a prototype for any human being. If anything, I am someone who could be needed in a crisis, as a guinea pig that life uses to feel its way. A person half as reflective as I would be able to be of significance for many people, but precisely because I am altogether reflective I have none at all. As soon as I am outside my religious understanding, I feel as an insect with which children are playing must feel, because life seems to have dealt with me so unmercifully; as soon as I am inside my religious understanding, I understand that precisely this has absolute meaning for me. Hence, that which in one case is a dreadful jest is in another sense the most profound earnestness. Earnestness is basically not something simple, a simplex, but is a compositum [compound], for true earnestness is the unity of jest and earnestness. —Søren Kierkegaard, Stages on Life’s Way

 

“Like Beads on a String”

Kurt Vonnegut

The most important thing I learned on Tralfamadore was that when a person dies he only appears to die. He is still very much alive in the past, so it is very silly for people to cry at his funeral. All moments, past, present and future, always have existed, always will exist. The Tralfamadorians can look at all the different moments just that way we can look at a stretch of the Rocky Mountains, for instance. They can see how permanent all the moments are, and they can look at any moment that interests them. It is just an illusion we have here on Earth that one moment follows another one, like beads on a string, and that once a moment is gone it is gone forever.

When a Tralfamadorian sees a corpse, all he thinks is that the dead person is in bad condition in the particular moment, but that the same person is just fine in plenty of other moments. Now, when I myself hear that somebody is dead, I simply shrug and say what the Tralfamadorians say about dead people, which is “So it goes.”—Kurt Vonnegut, Slaughterhouse Five

A Classification of Animals

Mythical Animal

These ambiguities, redundancies, and deficiencies recall those attributed by Dr. Franz Kuhn to a certain Chinese encyclopedia entitled Celestial Emporium of Benevolent Knowledge. On those remote pages it is written that animals are divided into (a) those that belong to the Emperor, (b) embalmed ones, (c) those that are trained, (d) suckling pigs, (e) mermaids, (f) fabulous ones, (g) stray dogs, (h) those that are included in this classification, (i) those that tremble as if they were mad, (j) innumerable ones, (k) those drawn with a very fine camel’s hair brush, (l) others, (m) those that have just broken a flower vase, (n) those that resemble flies from a distance.—Jorge Luis Borges, “The Analytical Language of John Wilkins”

On Suffering

Thomas Merton

Indeed, the truth that many people never understand, until it is too late, is that the more you try to avoid suffering, the more you suffer, because smaller and more insignificant things begin to torture you, in proportion to your fear of being hurt. The one who does most to avoid suffering is, in the end, the one who suffers the most: and his suffering comes to him from things so little and so trivial that one can say that it is no longer objective at all. It is his own existence, his own being, that is at once the subject and the source of his pain, and his very existence and consciousness is his greatest torture.—Thomas Merton, The Seven Storey Mountain

Beyond Good and Evil

Joseph Campbell

When you get down into the depths of mythology, [mythic] forms are beyond good and evil. With the Indian deities—this is the wonderful thing about them—the upper right hand will say. “Fear not” and below it is the boon-bestowing hand; and the upper left will have a sword, and in the lower a recently amputated head. These are the two aspects of power, the two aspects of being. in our traditions—and this is true even all the way back to the Greeks—the beneficent and the malfeasant aspects of power tend to be separated and contrary entities.

Is that when trouble arises?

No, not necessarily—provided the two are in play with each other. But when one is impugned, as in our tradition where the powers of the deep are consigned to Hell … It’s interesting that the symbols of Shiva and of Poseidon are exactly those that are given to the Devil in Christian mythology—the bull’s foot and the tridents. So the power which is symbolized in those forms has been pushed aside as though it should not be admitted.—Joseph Campbell, An Open Life

 

“The Just Man Rages in the Wilds”

Frontispiece

Rintrah roars & shakes his fires in the burden’d air;
Hungry clouds swag on the deep

Once meek, and in a perilous path,
The just man kept his course along
The vale of death.
Roses are planted where thorns grow.
And on the barren heath
Sing the honey bees.

Then the perilous path was planted:
And a river, and a spring
On every cliff and tomb;
And on the bleached bones
Red clay brought forth.

Till the villain left the paths of ease,
To walk in perilous paths, and drive
The just man into barren climes.

Now the sneaking serpent walks
In mild humility.
And the just man rages in the wilds
Where lions roam.

Rintrah roars & shakes his fires in the burden’d air;
Hungry clouds swag on the deep.—William Blake, opening of “The Marriage of Heaven and Hell”

The Line Between Good and Evil

If only there were evil people insidiously committing evil deeds and it were necessary to separate them from the rest of us and destroy them. But the line dividing good and evil cuts through the heart of every human being, and who is willing to destroy a piece of his own heart?—Alexander Solzhenitsyn

“There Is No Path”

Antonio Machado

Wanderer, the road is your
footsteps, nothing else;
wanderer, there is no path,
you lay down a path in walking.

In walking, you lay down a path
and when turning around
you see the road you’ll
never step on again.
Wanderer, path there is none,
only tracks on the ocean foam.—Antonio Machado

Happiness vs. Contentment

Jean-Jacques Rousseau

Happiness is a lasting state which does not seem to be made for man in this world. Everything here on earth is in a continual flux which allows nothing to assume any constant form. All things change round about us, we ourselves change, and no one can be sure of loving tomorrow what he loves today. All our plans of happiness in this life are therefore empty dreams. Let us make the most of peace of mind when it comes to us, taking care to do nothing to drive it away, but not making plans to hold it fast, since such plans are sheer folly. I have seen few if any happy people, but I have seen many who were contented, and of all the sights that have come my way this is the one that has left me the most contented myself. I think this is a natural consequence of the influence of my sensations on my inward feelings. Happiness cannot be detected by any outward sign and to recognize it one would need to be able to read in the happy person’s heart, but contentment is visible in the eyes, the bearing, the voice and the walk, and it seems to communicate itself to the onlooker. Is there any satisfaction more sweet than to see a whole people devoting themselves to joy on some feast-day and all their hearts expanding in the supreme rays of pleasure which sign briefly but intensely through the clouds of life?—Jean-Jacques Rousseau, Reveries of the Solitary Walker, “Ninth Walk”

“I Did Not Want To Become Slight and Fantastic”

As I … meditated the direction of modern poetry, my discouragement blackened. It seemed to me that Mallarmé and his followers, renouncing intelligibility in order to concentrate on the music of poetry, had turned off the road into a narrowing lane…. Idea had gone, now meter had gone, imagery would have to go; perhaps at last words might have to go or give up their meaning, nothing be left but musical syllables…. I was standing there like a God-forsaken man-of-letters, making my final decision not to become a “modern.” I did not want to become slight and fantastic, abstract and unintelligible.—Robinson Jeffers, Preface to Roan Stallion