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And that date, too, is far off?' 'Far off; when it comes, think your end in this world is at hand!' 'How and what is the end? Look east, west, south and north.' 'In the north, where you never yet trod, towards the point whence your instincts have warned you, there a spectre will seize you. 'Tis Death! I see a ship - it is haunted - 'tis chased - it sails on. Baffled navies sail after that ship. It enters the regions of ice. It passes a sky red with meteors. Two moons stand on high, over ice-reefs. I see the ship locked between white defiles - they are ice-rocks. I see the dead strew the decks - stark and livid, green mold on their limbs. All are dead, but one man - it is you! But years, though so slowly they come, have then scathed you. There is the coming of age on your brow, and the will is relaxed in the cells of the brain. Still that will, though enfeebled, exceeds all that man knew before you, through the will you live on, gnawed with famine; and nature no longer obeys you in that death-spreading region; the sky is a sky of iron, and the air has iron clamps, and the ice-rocks wedge in the ship. Hark how it cracks and groans. Ice will imbed it as amber imbeds a straw. And a man has gone forth, living yet, from the ship and its dead; and he has clambered up the spikes of an iceberg, and the two moons gaze down on his form. That man is yourself; and terror is on you - terror; and terror has swallowed your will. And I see swarming up the steep ice-rock, grey grisly things. The bears of the north have scented their quarry - they come near you and nearer, shambling and rolling their bulk, and in that day every moment shall seem to you longer than the centuries through which you have passed. And heed this - after life, moments continued make the bliss or the hell of eternity.' 'Hush,' said the whisper; 'but the day, you assure me, is far off - very far! I go back to the almond and rose of Damascus! - sleep!' ("The House And The Brain ↗
Oscar Wilde was born in Dublin, on the 15th October, 1856, so that he is now about twenty-six years of age, but brief as has been his career, it has been full of promise for the future. The son of highly intellectual parents, he has had an exceptional education, has travelled much in wild and remote, through classic lands, and in the course of these journeys has learnt to appreciate the beauties of the old authors, in whose works whilst at college he attained exceptional proficiency. But his naturally enthusiastic temperament teaches him to hope for better in the future than has been achieved in the past, and to see how vast will be the influence of Art and Literature on the coming democracy of Intellect, when education and culture shall have taught men to pride themselves on what they have done, and not alone on the deeds of their ancestors. ↗
#oscar-wilde #victorian #victorian-era #walter-hamilton #age
Marx was troubled by the question of why ancient Greek art retained an ‘eternal charm’, even though the social conditions which produced it had long passed; but how do we know that it will remain ‘eternally’ charming, since history has not yet ended? Let us imagine that by dint of some deft archaeological research we discovered a great deal more about what ancient Greek tragedy actually meant to its original audiences, recognized that these concerns were utterly remote from our own, and began to read the plays again in the light of this deepened knowledge. One result might be that we stopped enjoying them. We might come to see that we had enjoyed them previously because we were unwittingly reading them in the light of our own preoccupations; once this became less possible, the drama might cease to speak at all significantly to us. The fact that we always interpret literary works to some extent in the light of our own concerns - indeed that in one sense of ‘our own concerns’ we are incapable of doing anything else - might be one reason why certain works of literature seem to retain their value across the centuries. It may be, of course, that we still share many preoccupations with the work itself; but it may also be that people have not actually been valuing the ‘same’ work at all, even though they may think they have. ‘Our’ Homer is not identical with the Homer of the Middle Ages, nor ‘our’ Shakespeare with that of his contemporaries; it is rather that different historical periods have constructed a ‘different’ Homer and Shakespeare for their own purposes, and found in these texts elements to value or devalue, though not necessarily the same ones. All literary works, in other words, are ‘rewritten’, if only unconsciously, by the societies which read them; indeed there is no reading of a work which is not also a ‘re-writing’. No work, and no current evaluation of it, can simply be extended to new groups of people without being changed, perhaps almost unrecognizably, in the process; and this is one reason why what counts as literature is a notably unstable affair. ↗
Let us find the dam snack bar," Zoe said. "We should eat while we can." Grover cracked a smile. "The dam snack bar?" Zoe blinked. "Yes. What is funny?" "Nothing," Grover said, trying to keep a straight face. "I could use some dam french fries." Even Thalia smiled at that. "And I need to use the dam restroom." Maybe it was the fact that we were so tired and strung out emotionally, but I started cracking up, and Thalia and Grover joined in, while Zoe just looked at us. "I do not understand." "I want to use the dam water fountain," Grover said. "And…" Thalia tried to catch her breath. "I want to buy a dam T-shirt." I busted up, and I probably would've kept laughing all day, but then I heard a noise: "Moooo." The smile melted off my face. I wondered if the noise was just in my head, but Grover had stopped laughing too. He was looking around, confused. "Did I just hear a cow?" "A dam cow?" Thalia laughed. ↗
So I suggested to Dimitri that maybe he should let me off this time. He laughed, and I was pretty sure it was at me and not with me. Rose Hathaway: "Why is that funny?” Dimitri Belikov: "Oh, You were serious.” Rose Hathaway: "Of course I was! Look, I've technically been awake for two days. Why do we have to start this training now? Let me go to bed, It's just one hour.” Dimitri Belikov: "How do you feel right now? After the training you've done so far?” Rose Hathaway: "I hurt like hell.” Dimitri Belikov: "You'll feel worse tomorrow.” Rose Hathaway: "So?” Dimitri Belikov: "So, better to jump in now while you still feel…not as bad.” Rose Hathaway: "What kind of logic is that? ↗
I removed all the doors to our love, so you can’t lock yourself away from me. But I didn’t stop there. I also replaced the doors with metal detectors, so I could fondle you more efficiently, like the highly trained professionals do who run airport security. ↗
