The artist usually sets out -- or used to -- to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's and the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it.
HOG, n. A bird remarkable for the catholicity of its appetite and serving to illustrate that of ours. Among the Mahometans and Jews, the hog is not in favor as an article of diet, but is respected for the delicacy and the melody of its voice. It is chiefly as a songster that the fowl is esteemed; the cage of him in full chorus has been known to draw tears from two persons at once. The scientific name of this dicky-bird is _Porcus Rockefelleri_. Mr. Rockefeller did not discover the hog, but it is considered his by right of resemblance.
I will begin with what in my opinion is your lack of restraint. You are like a spectator in a theatre who expresses his enthusiasm so unrestrainedly that he prevents himself and others from hearing. That lack of restraint is particularly noticeable in the descriptions of nature with which you interrupt dialogues; when one reads them, these descriptions, one wishes they were more compact, shorter, say two or three lines.
Probably there is nothing in human nature more resonant with charges than the flow of energy between two biologically alike bodies, one of which has lain in amniotic bliss inside the other, one of which has labored to give birth to the other. The materials are here for the deepest mutuality and the most painful estrangement.
The line has magnitude in one way, the plane in two ways, and the solid in three ways, and beyond these there is no other magnitude because the three are all.
Two attempts have been made in the world to found social life: the one was upon religion, and the other was upon social necessity. The one was founded upon spirituality, the other upon materialism; the one upon transcendentalism, the other upon realism.
The difficulty of saying I-a phrase from the East German novelist Christa Wolf. But once having said it, as we realize the necessity to go further, isn't there a difficulty of saying 'we'? You cannot speak for me. I cannot speak for you. Two thoughts: there is no liberation that only knows how to say 'I'; there is no collective movement that speaks for each of us all the way through.
It is better to allow our lives to speak for us than our words. God did not bear the cross only two thousand years ago. He bears it today, and he dies and is resurrected from day to day. It would be a poor comfort to the world if it had to depend on a historical God who died two thousand years ago. Do not, then, preach the God of history, but show him as he lives today through you.
CALAMITY, n. A more than commonly plain and unmistakable reminder that the affairs of this life are not of our own ordering. Calamities are of two kinds: misfortune to ourselves, and good fortune to others.
I'm at that age where I watch such things with two minds, one that cackles at these capers and another that never gets much beyond a rather jaded and self-conscious smile, like the Mona Lisa.
I can look back . . . at two distinct periods of opinion whose foundations I have successively come to distrust - a period before 1919 or so, when the weight of classic authority unduly influenced me, and another period from 1919 to about 1925, when I placed too high a value on the elements of revolt, florid colour, and emotional extravagance or intensity.
The Head and the body are Christ wholly and entirely. The Head is the only begotten Son of God, the body is His Church; the bridegroom and the bride, two in one flesh. All who dissent from the Scriptures concerning Christ, although they may be found in all places in which the Church is found, are not in the Church; and again all those who agree with the Scriptures concerning the Head, and do not communicate in the unity of the Church, are not in the Church.