Over-soul

With Music Strong I Come

admin — Sun, 28 Feb 2010 04:12:13 +0000

With music strong I come, with my cornets and my drums,
I play not marches for accepted victors only, I play marches for
conquer’d and slain persons.

Have you heard that it was good to gain the day?
I also say it is good to fall, battles are lost in the same spirit
in which they are won.

I beat and pound for the dead,
I blow through my embouchures my loudest and gayest for them.

Vivas to those who have fail’d!
And to those whose war-vessels sank in the sea!
And to those themselves who sank in the sea!
And to all generals that lost engagements, and all overcome heroes!
And the numberless unknown heroes equal to the greatest heroes
known!

Walt Whitman, Song of Myself

The Fall of a Sparrow

admin — Mon, 22 Feb 2010 06:03:43 +0000

There ’s a special providence in the fall of a sparrow. If it be now, ’t is not to come; if it be not to come, it will be now; if it be not now, yet it will come: the readiness is all. Since no man has aught of what he leaves, what is ’t to leave betimes?

William Shakespeare, Hamlet

I Came To Love You Too Late

ali — Sun, 24 Jan 2010 06:37:29 +0000

I came to love you too late, Oh Beauty, so ancient and so new. Yes, I came to love you too late. What did I know? You wereinside me, and I was out of my body and mind, looking for you. Idrove like an ugly madman against the beautiful things andbeings you made. You were in fact inside me, but I was notinside you. Those same things kept me at some distance from you, even though those things, had they not been inside you, would not have existed at all. You called to me and cried to me; you broke the bowl of my deafness; you uncovered your beams, and threw them at me; you rejected my blindness; you blew afragrant wind on me, and I sucked in my breath and wanted you; I tasted you and now I want you as I want food and water; you touched me, and I have been burning ever since to have your peace.

St. Augustine

Where is My Dwelling Place?

ali — Sun, 24 Jan 2010 06:32:10 +0000

Where is my dwelling place? Where I can never stand.
Where is my final goal, toward which I should ascend?
It is beyound all place. What should my quest then be?
I must, transcending God, into the desert flee.

Angelus Silesius

To a Historian

ali — Sun, 17 Jan 2010 21:15:22 +0000

You who celebrate bygones!
Who have explored the outward, the surfaces of the races—the life that has exhibited itself;
Who have treated of man as the creature of politics, aggregates, rulers and priests;
I, habitan of the Alleghanies, treating of him as he is in himself, in his own rights,
Pressing the pulse of the life that has seldom exhibited itself, (the great pride of man in himself;)
Chanter of Personality, outlining what is yet to be,
I project the history of the future.

Walt Whitman

Prayer of Columbus

ali — Sun, 17 Jan 2010 21:11:13 +0000

My terminus near,
The clouds already closing in upon me,
The voyage balk’d—the course disputed, lost,
I yield my ships to Thee.

Steersman unseen! henceforth the helms are Thine;
Take Thou command—(what to my petty skill Thy navigation?)
My hands, my limbs grow nerveless;
My brain feels rack’d, bewilder’d; Let the old timbers part—I will not part!
I will cling fast to Thee, O God, though the waves buffet me;
Thee, Thee, at least, I know.

Is it the prophet’s thought I speak, or am I raving?
What do I know of life? what of myself?
I know not even my own work, past or present;
Dim, ever-shifting guesses of it spread before me,
Of newer, better worlds, their mighty parturition,
Mocking, perplexing me.

And these things I see suddenly—what mean they?
As if some miracle, some hand divine unseal’d my eyes,
Shadowy, vast shapes, smile through the air and sky,
And on the distant waves sail countless ships,
And anthems in new tongues I hear saluting me.

Walt Whitman

Interior

ali — Sun, 17 Jan 2010 21:03:10 +0000

It sheds a shy solemnity,
This lamp in our poor room.
O grey and gold amenity, –
Silence and gentle gloom!

Wide from the world, a stolen hour
We claim, and none may know
How love blooms like a tardy flower
Here in the day’s after-glow.

And even should the world break in
With jealous threat and guile,
The world, at last, must bow and win
Our pity and a smile.

Hart Crane

Beauty Is a Fearful and Terrible Thing!

ali — Sun, 17 Jan 2010 20:57:32 +0000

But enough poetry! I shed tears; well, then, let me cry. Maybe everyone will laugh at this foolishness, but you won’t. Your eyes are shining, too. Enough poetry. I want to tell you now about the ‘insects,’ about those to whom God gave sensuality:

To insects—sensuality!

I am that very insect, brother, and those words are precisely about me. And all of us Karamazovs are like that, and in you, an angel, the same insect lives and stirs up storms in your blood. Storms, because sensuality is a storm, more than a storm! Beauty is a fearful and terrible thing! Fearful because it’s undefinable, and it cannot be defined, because here God gave us only riddles. Here the shores converge, here all contradictions live together. I’m a very uneducated man, brother, but I’ve thought about it a lot. So terribly many mysteries! Too many riddles oppress man on earth. Solve them if you can without getting your feet wet. Beauty! Besides, I can’t bear it that some man, even with a lofty heart and the highest mind, should start from the ideal of the Madonna and end with the ideal of Sodom. It’s even more fearful when someone who already has the ideal of Sodom in his soul does not deny the ideal of the Madonna either, and his heart burns with it, verily, verily burns, as in his young, blameless years. No, man is broad, even too broad, I would narrow him down. Devil knows even what to make of him, that’s the thing! What’s shame for the mind is beauty all over for the heart. Can there be beauty in Sodom? Believe me, for the vast majority of people, that’s just where beauty lies—did you know that secret? The terrible thing is that beauty is not only fearful but also mysterious. Here the devil is struggling with God, and the battlefield is the human heart. But, anyway, why kick against the pricks? Listen, now to real business.

The Brothers Karamazov

The Madness of Art

ali — Thu, 24 Dec 2009 01:38:23 +0000

It is glory–to have been tested, to have had our little quality and cast our little spell. . . . A second chance–that’s the delusion. There never was to be but one. We work in the dark–we do what we can–we give what we have. Our doubt is our passion and our passion is our task. The rest is the madness of art.

Henry James

The Sonnets to Orpheus, Part Two, XXI

ali — Wed, 23 Dec 2009 03:24:08 +0000

Want the change. Be inspired by the flame
where everything shines as it disappears.
The artist, when sketching, loves nothing so much
as the curve of the body as it turns away.

What locks itself in sameness has congealed.
Is it safer to be gray and numb?
What turns hard becomes rigid
and is easily shattered.

Pour yourself out like a fountain.
Flow into the knowledge that what you are seeking
finishes often at the start, and, with ending, begins.

Every happiness is the child of a separation
it did not think it could survive. And Daphne, becoming a laurel,
dares you to become the wind.

Rilke

Inspirational Inflections

ali — Thu, 17 Dec 2009 19:27:20 +0000

These, in my opinion are the most general physical causes of the characteristic differences of the primitive tongues. Those of the south are bound to be sonorous, accented, eloquent, and frequently obscure because of their power. Those of the north are bound to be dull, harsh, articulated, shrill, monotonous, and to have a clarity due more to vocabulary than to good construction. The modern tongues, with all their intermingling and recasting, still retain something of these differences. French, English, German: each is a language private to a group of men who help each other, or who become angry. But the ministers of god proclaim sacred mysteries, sages giving laws to their people, leaders swaying the multitude, have to speak Arabic or Persian. Our tongues are better suited to writing than speaking, and there is more pleasure in reading us than in listening to us. Oriental tongues, on the other hand, lose their life and warmth when they are written. The words do not convey half the meaning; all the effectiveness is in the tone of voice. Judging the Orientals from their books is like painting a man’s portrait from his corpse.

For a proper appreciation of their actions, men must be considered in all their relationships: which we simply are not capable of doing. When we put ourselves in the position of the others, we do not become what they must be, but remain ourselves, modified. And, when we think we are judging them rationally, we merely compare their prejudices to ours. Thus, if one who read a little Arabic and enjoyed leafing through the Koran were to hear Mohammed personally proclaim in that eloquent, rhythmic tongue, with that sonorous and persuasive voice, seducing first the ears, then the heart, every sentence alive with enthusiasm, he would prostrate himself, crying: Great prophet, messenger of God, lead us to glory, to martyrdom. We will conquer or die for you. Fanaticism always seems ridiculous to us, because there is no voice among us to make it understood. Our own fanatics are not authentic fanatics. They are merely rogues or fools. Instead of inspirational inflections, our tongues allow only for cries of diabolic possessions.

Rousseau, Essay on the Origin of Languages

The Open Confession of His Love-Secrets

ali — Tue, 15 Dec 2009 23:40:32 +0000

Consciousness of God is self-consciousness, knowledge of God is self-knowledge.

Whatever is God to a man, that is his heart and soul; and conversely, God is the manifested inward nature, the expressed self of a man,–religion the solemn unveiling of a man’s hidden treasures, the revelation of his intimate thoughts, the open confession of his love-secrets.

Feuerbach, The Essence of Christianity

The Rational Man and The Intuitive Man

ali — Tue, 10 Nov 2009 06:13:31 +0000

There are ages in which the rational man and the intuitive man stand side by side, the one in fear of intuition, the other with scorn for abstraction. The latter is just as irrational as the former is inartistic. They both desire to rule over life: the former, by knowing how to meet his principle needs by means of foresight, prudence, and regularity; the latter, by disregarding these needs and, as an “overjoyed hero,” counting as real only that life which has been disguised as illusion and beauty. Whenever, as was perhaps the case in ancient Greece, the intuitive man handles his weapons more authoritatively and victoriously than his opponent, then, under favorable circumstances, a culture can take shape and art’s mastery over life can be established. All the manifestations of such a life will be accompanied by this dissimulation, this disavowal of indigence, this glitter of metaphorical intuitions, and, in general, this immediacy of deception: neither the house, nor the gait, nor the clothes, nor the clay jugs give evidence of having been invented because of a pressing need. It seems as if they were all intended to express an exalted happiness, an OIympian cloudlessness, and, as it were, a playing with seriousness. The man who is guided by concepts and abstractions only succeeds by such means in warding off misfortune, without ever gaining any happiness for himself from these abstractions. And while he aims for the greatest possible freedom from pain, the intuitive man, standing in the midst of a culture, already reaps from his intuition a harvest of continually inflowing illumination, cheer, and redemption-in addition to obtaining a defense against misfortune. To be sure, he suffers more intensely, when he suffers; he even suffers more frequently, since he does not understand how to learn from experience and keeps falling over and over again into the same ditch. He is then just as irrational in sorrow as he is in happiness: he cries aloud and will not be consoled. How differently the stoical man who learns from experience and governs himself by concepts is affected by the same misfortunes! This man, who at other times seeks nothing but sincerity, truth, freedom from deception, and protection against ensnaring surprise attacks, now executes a masterpiece of deception: he executes his masterpiece of deception in misfortune, as the other type of man executes his in times of happiness. He wears no quivering and changeable human face, but, as it were, a mask with dignified, symmetrical features. He does not cry; he does not even alter his voice. When a real storm cloud thunders above him, he wraps himself in his cloak, and with slow steps he walks from beneath it.

Nietzsche, On Truth and Lies in a Nonmoral Sense

A Serious Philosophical Work

ali — Tue, 10 Nov 2009 00:29:01 +0000

A serious and good philosophical work could be written consisting entirely of jokes.

Wittgenstein

Wisdom

ali — Tue, 10 Nov 2009 00:28:05 +0000

It seems to me that, in every culture, I come across a chapter headed “Wisdom.” And then I know exactly what is going to follow: “Vanity of vanities, all is vanity.”

Wittgenstein

Last Words

ali — Thu, 05 Nov 2009 02:49:33 +0000

Last words. – One will recall that the emperor Augustus, that frightful man who has as much self-control and who could be as silent as any wise Socrates, became indiscreet against himself with his last words: he let his mask fall for the first time when he made it clear that he had worn a mask and acted a comedy – he had played the father of the fatherland and the wisdom on the throne well enough to create the proper illusion! Plaudite amici, comoedia finita est!¹ The thought of the dying Nero - qualis artifex pereo!² – was also the thought of the dying Augustus: actor’s vanity! Actor’s prolixity! And truly the opposite of the dying Socrates! But Tiberius died silently, this most tormented of all self-tormentors - he was genuine and no actor! What might have passed through his mind at the end? Maybe this: ‘Life – that is a long death. What a fool I was to shorten so many lives! Was I made to be a benefactor? I should have given them eternal life: that way, I could have seen them die forever. That’s why I had such good eyes: qualis spectator pereo!³ When after a long death-struggle he seemed to recover his strength, it was considered advisable to smother him with pillows – he died a double death.

Nietzsche, The Gay Science

‘Father of the Fatherland’ was an honorary title bestowed by the Roman Senate on the emperor Augustus. In his biography (chapter 99) Suetonius reports that these Latin words (= ‘Applaud my friends, the comedy is over!’) were among the last Augustus spoke on his deathbed.
‘I die, what a loss to art!’
‘I die, but what a good observer I was!’

Not Predestined for Knowledge

ali — Thu, 05 Nov 2009 02:16:37 +0000

Not predestined for knowledge. – There is a stupid humility that is by no means rare, and those afflicted with it are altogether unfit to become votaries of knowledge. For as soon as a person of this type perceives something striking, he turns on his heels, as it were, and says to himself, ‘You have made a mistake! Where were your senses? This cannot be the truth!’ And then, instead of looking and listening more keenly again, he runs away, as if intimidated, from the striking thing and tries to shake it from his mind as fast as possible. For his inner canon says, ‘I want to see nothing that contradicts the prevalent opinion. Am I made to discover new truths? There are already too many old ones.’

Nietzsche, The Gay Science

I destroy, I destroy, I destroy

ali — Mon, 02 Nov 2009 01:43:15 +0000

I was thinking about my philosophical work and saying to myself: ‘I destroy, I destroy, I destroy –’

Wittgenstein

The Song of Despair

ali — Sat, 24 Oct 2009 17:08:54 +0000

The memory of you emerges from the night around me.
The river mingles its stubborn lament with the sea.

Deserted like the wharves at dawn.
It is the hour of departure, oh deserted one!

Cold flower heads are raining over my heart.
Oh pit of debris, fierce cave of the shipwrecked.

In you the wars and the flights accumulated.
From you the wings of the song birds rose.

You swallowed everything, like distance.
Like the sea, like time. In you everything sank!

It was the happy hour of assault and the kiss.
The hour of the spell that blazed like a lighthouse.

Pilot’s dread, fury of a blind diver,
turbulent drunkenness of love, in you everything sank!

In the childhood of mist my soul, winged and wounded.
Lost discoverer, in you everything sank!

You girdled sorrow, you clung to desire,
sadness stunned you, in you everything sank!

I made the wall of shadow draw back,
beyond desire and act, I walked on.

Oh flesh, my own flesh, woman whom I loved and lost,
I summon you in the moist hour, I raise my song to you.

Like a jar you housed the infinite tenderness,
and the infinite oblivion shattered you like a jar.

There was the black solitude of the islands,
and there, woman of love, your arms took me in.

There were thirst and hunger, and you were the fruit.
There were grief and the ruins, and you were the miracle.

Ah woman, I do not know how you could contain me
in the earth of your soul, in the cross of your arms!

How terrible and brief was my desire of you!
How difficult and drunken, how tensed and avid.

Cemetery of kisses, there is still fire in your tombs,
still the fruited boughs burn, pecked at by birds.

Oh the bitten mouth, oh the kissed limbs,
oh the hungering teeth, oh the entwined bodies.

Oh the mad coupling of hope and force
in which we merged and despaired.

And the tenderness, light as water and as flour.
And the word scarcely begun on the lips.

This was my destiny and in it was the voyage of my longing,
and in it my longing fell, in you everything sank!

Oh pit of debris, everything fell into you,
what sorrow did you not express, in what sorrow are you not drowned!

From billow to billow you still called and sang.
Standing like a sailor in the prow of a vessel.

You still flowered in songs, you still broke in currents.
Oh pit of debris, open and bitter well.

Pale blind diver, luckless slinger,
lost discoverer, in you everything sank!

It is the hour of departure, the hard cold hour
which the night fastens to all the timetables.

The rustling belt of the sea girdles the shore.
Cold stars heave up, black birds migrate.

Deserted like the wharves at dawn.
Only the tremulous shadow twists in my hands.

Oh farther than everything. Oh farther than everything.

It is the hour of departure. Oh abandoned one.

Pablo Neruda

Language of Looks

ali — Sat, 10 Oct 2009 01:50:08 +0000

How well i understand this language of looks, mute but expressive, terse but emphatic.

A Hero of Our Time

Provocation

ali — Mon, 05 Oct 2009 20:54:58 +0000

Truly speaking, it is not instruction, but provocation, that I can recieve from another soul. What he announces, I must find true in me, or wholly reject; and on his word, or as his second, be he who he may, I can accept nothing.

Emerson

I Ought to Hate You

ali — Fri, 02 Oct 2009 02:09:04 +0000

‘Tell me, does it amuse you very much to torture me? I ought to hate you. Ever since I’ve known you, you’ve brought nothing but suffering…’
Her voice trembled, she leaned towards me and lowered her head upon my breast.
Perhaps that’s why you loved me, I thought. Moments of happiness one forgets, but sorrow never.

A Hero of Our Time

Decide

ali — Mon, 28 Sep 2009 03:39:42 +0000

Dare to decide.

Kierkegaard

A Masquerade of the Gods

ali — Fri, 11 Sep 2009 20:48:42 +0000

“If a workman were sure to dream for twelve straight hours every night that he was king,” said Pascal, “I believe that he would be just as happy as a king who dreamt for twelve hours every night that he was a workman.” In fact, because of the way that myth takes it for granted that miracles are always happening, the waking life of a mythically inspired people–the ancient Greeks, for instance–more closely resembles a dream than it does the waking world of a scientifically disenchanted thinker. When every tree can suddenly speak as a nymph, when a god in the shape of a bull can drag away maidens, when even the goddess Athena herself is suddenly seen in the company of Peisastratus driving through the market place of Athens with a beautiful team of horses–and this is what the honest Athenian believed–then, as in a dream, anything is possible at each moment, and all of nature swarms around man as if it were nothing but a masquerade of the gods, who were merely amusing themselves by deceiving men in all these shapes.

Nietzsche, On Truth and Lies in a Nonmoral Sense

The Philosopher

ali — Sat, 05 Sep 2009 01:25:49 +0000

If the philosophers were in a position to discover the truth, who among them would take an interest in it? Each knows well that his system is no better founded that the others. But he maintains it because it is his. There is not a single one of them who, if he came to know the true and the false, would not prefer the lie he has found to the truth discovered by another. Where is the philosopher who would not gladly deceive mankind for his own glory? Where is the one who in the secrecy of his heart sets himself any other goal than that of distinguishing himself? Provided that he raises himself above the vulgar, provided that he dims the brilliance of his competitors, what more does he ask? The essential thing is to think differently from others. Among believers he is an atheist; among atheists he would be a believer.

Rousseau, Emile - Book IV

Seers of the Infinite

ali — Sat, 05 Sep 2009 01:19:07 +0000

Seers of the Infinite have ever been quiet souls. They abide alone with themselves and the Infinite, or if they do look around them, grudge to no one who understands the Mighty Word his own peculiar way.

I maintain that in all better souls religion springs necessarily by itself, that a province of its own in the mind belongs to it, in which it has ultimate sway; that it is worthy to animate most profoundly the noblest and best and to be fully accepted and known by them.

The sum total of religion is to feel that, in its highest unity, all that moves us in feeling is one; to feel that whatever is single and particular is only possible by means of this unity; to feel, that is to say, that our being and living is a being and living in and through God.

Schleiermacher

Our Theism

ali — Wed, 26 Aug 2009 19:16:10 +0000

Our theism is the purification of the human mind. Man can paint, or make, or think, nothing but man. He believes that the great material elements had their origin from his thought. And our philosophy finds one essence collected or distributed.

Ralph Waldo Emerson, Representative Men

Emerson on Swedenborg

ali — Wed, 19 Aug 2009 02:25:46 +0000

It is remarkable that this man, who, by his perception of symbols, saw the poetic construction of things and the primary relation of mind to matter, remained entirely devoid of the whole apparatus of poetic expression, which that perception creates. He knew the grammar and rudiments of the Mother-Tongue,- how could he not read off one strain into music? Was he like Saadi, who, in his vision, designed to fill his lap with the celestial flowers, as presents for his friends; but the fragrance of the roses so intoxicated him that the skirt dropped from his hands? or is reporting a breach of the manners of that heavenly society? or was it that he saw the vision intellectually, and hence that chiding of the intellectual that pervades his books? Be it as it may, his books have no melody, no emotion, no humor, no relief to the dead prosaic level. In his profuse and accurate imagery is no pleasure, for there is no beauty. We wander forlorn in a lack-lustre landscape. No bird ever sang in all these gardens of the dead.

Ralph Waldo Emerson, Representative Men

Let a Man Learn…

ali — Wed, 19 Aug 2009 02:13:53 +0000

Let a man learn to look for the permanent in the mutable and fleeting; let him learn to bear the disappearance of things he was wont to reverence without losing his reverence; let him learn that he is here, not to work but to be worked upon; and that, though abyss open under abyss, and opinion displace opinion, all are at last contained in the Eternal Cause:-

“If my bark sink, ’tis to another sea.”

Ralph Waldo Emerson, Representative Men

Great Men

ali — Wed, 19 Aug 2009 02:00:48 +0000

Great men are more distinguished by range and extent, than by originality. If we require the originality which consists in weaving, like a spider, their web from their own bowels; in finding clay, and making bricks, and building the house; no great men are original. Nor does valuable originality consist in unlikeness to other men. The hero is in the press of knights, and the thick of events; and, seeing what men want, and sharing their desire, he adds the needful length of sight and of arm, to come at the desired point. The greatest genius is the most indebted man. A poet is no rattlebrain, saying what comes uppermost, and, because he says every thing, saying, at last, something good; but a heart in unison with his time and country. There is nothing whimsical and fantastic in his production, but sweet and sad earnest, freighted with the weightiest convictions, and pointed with the most determined aim which any man or class knows of in his times.

Ralph Waldo Emerson, Representative Men