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If you come a little closer you will see that I am depicted as having three penises. Of course I’m not insinuating that I actually have three penises or even two. I have one. This is called symbolism. Is it symbolic in the sense that making love to me feels like I have three penises? Again, I can’t answer that, but probably, yeah. ↗
I'm not sure he's wrong about automobiles," he said. "With all their speed forward they may be a step backward in civilization -- that is, in spiritual civilization. It may be that they will not add to the beauty of the world, nor to the life of men's souls. ↗
Portia we can admire because, having seen her leave her Earthly Paradise to do a good deed in this world (one notices, incidentally, that in this world she appears in disguise), we know that she is aware of her wealth as a moral responsibility, but the other inhabitants of Belmont, Bassanio, Gratiano, Lorenzo and Jessica, for all their beauty and charm, appear as frivolous members of a leisure class, whose carefree life is parasitic upon the labors of others, including usurers. When we learn that Jessica has spent fourscore ducats of her father’s money in an evening and bought a monkey with her mother’s ring, we cannot take this as a comic punishment for Shylock’s sin of avarice; her behavior seems rather an example of the opposite sin of conspicuous waste. Then, with the example in our minds of self-sacrificing love as displayed by Antonio, while we can enjoy the verbal felicity of the love duet between Lorenzo and Jessica, we cannot help noticing that the pairs of lovers they recall, Troilus and Cressida, Aeneas and Dido, Jason and Medea, are none of them examples of self-sacrifice or fidelity. […] Belmont would like to believe that men and women are either good or bad by nature, but Antonio and Shylock remind us that this is an illusion; in the real world, no hatred is totally without justification, no love totally innocent. ↗
Give me a scholar, therefore, who is able to think and to write, to look with an eye of discernment into things, and to do business himself, if called upon, who hath both civil and military knowledge; one, moreover, who has been in camps, and has seen armies in the field and out of it; knows the use of arms, and machines, and warlike engines of every kind; can tell what the front, and what the horn is, how the ranks are to be disposed, how the horse is to be directed, and from whence to advance or to retreat; one, in short, who does not stay at home and trust to the reports of others: but, above all, let him be of a noble and liberal mind; let him neither fear nor hope for anything; otherwise he will only resemble those unjust judges who determine from partiality or prejudice, and give sentence for hire: but, whatever the man is, as such let him be described. ↗
When magic through nerves and reason passes, Imagination, force, and passion will thunder. The portrait of the world is changed. ↗
it strikes me that the writers most deeply concerned with the state of literary fiction and its biases against women could do a lot worse than trying to coin some terms of their own: to name the archetypes they wish to invert or criticise and thereby open up the discussion. If authors can be thought of as magicians in any sense, then the root of our power has always rested with words: choosing them, arranging them and – most powerfully – inventing them. Sexism won’t go away overnight, and nor will literary bias. But until then, if we’re determined to invest ourselves in bringing about those changes, it only makes sense to arm ourselves with a language that we, and not our enemies, have chosen. May 14, 2011 Blog post ↗
#importance-of-words #language #literary-bias #writings #change
