Beautry is a terrifying and horrible thing! It's terrifying because it can't be defined, and it can't be defined because God has set nothing but riddles. Here the two banks of the river meet, and here all contradictions exist together. Brother, I'm very far from being a man of the new progressive education, but I've thought a lot about this. There are a terrible number of mysteries! There are too many riddles that weigh man down upon earth. Try to solve them and fall on your feet as best you can. Beauty! What is more, I find it intolerable that there should be men, even those with the loftiest hearts and with lofty intellects, too, who start out with the ideal of the Madonna and end up with the ideal of Sodom. Even more terrifying are those who even though they bear the ideal of Sodom within their souls do not reject the ideal of Madonna, and whose hearts burn with it, truly, truly burn with it as they did in their young and unblemished years. No, man is broad, far too broad, even; I would narrow him. The devil only knows what's at stake here, that's the truth of it! Things that seem ignomy to the mind, to the heart are nothing but beauty. Beauty in Sodom - can that be true? You may be certain that it is precisely there that beauty resides for the vast majority of people - have you fathomed that secret? The horror of it is that beauty is not only a terrifying thing - it is also a mysterious one. In it the Devil struggles with God, and the field of battle is the hearts of men.

• contradictions
• thought
• soul
• evil
• truth
• beauty
• struggle
• sin
• desire
• self-definition
• perception
• reality
• narrative
• the heart wants what it wants

To an old pater there came a little blondine, a Norman girl of about twenty.  Beauty, curves, a perfect pose - enough to make one's mouth water.  She stooped down and whispered her sin through the speak-hole.  'My goodness, daughter of mine, have you fallen again already?' the pater exclaimed.  'O, Sancta Maria, what do I hear: with another man this time?  But how long is this to continue, and have you no shame?'  'Ah mon pére,' the peccatrix replied, the tears of penitence rolling down her cheeks, 'Ça lui fait tant de plaisir et á moi si peu de peine!*'\n\n  *loosely, 'It gives such pleasure to him, and causes me no suffering' 

• morality
• suffering
• beauty
• sin
• pleasure
• time
• shame

The people we are tempted to call clods and boors are just those who seem to find nothing fascinating in being human; their humanity is incomplete, for it has never astonished them. There is also something incomplete about those who find nothing fascinating in being. You may say that this is a philosopher's professional prejudice—that people are defective who lack a sense of the metaphysical. But anyone who thinks at all must be a philosopher—a good one or a bad one—because it is impossible to think without premises, without basic (and in this sense, metaphysical) assumptions about what is sensible, what is the good life, what is beauty, and what is pleasure. To hold such assumptions, consciously or unconsciously, is to philosophize. The self-styled practical man of affairs who pooh-poohs philosophy as a lot of windy notions is himself a pragmatist or a positivist, and a bad one at that, since he has given no thought to his position.

• humanity
• beauty
• life
• thought
• pleasure
• self
• philosophy
• prejudice
• assumptions

We see this theme of lost certainty and splendor not only stated by all the religions of man throughout history, but also again and again even in nonreligious intellectual history. It is there from the reminiscence theory of the Platonic Dialogues, that everything new is really a recalling of a lost better world, all the way to Rousseau’s complaint of the corruption of natural man by the artificialities of civilization. And we see it also in the modern scientisms I have mentioned: in Marx’s assumption of a lost “social childhood of mankind where mankind unfolds in complete beauty,” so clearly stated in his earlier writings, an innocence corrupted by money, a paradise to be regained. Or in the Freudian emphasis on the deep-seatedness of neurosis in civilization and of dreadful primordial acts and wishes in both our racial and individual pasts; and by inference a previous innocence, quite unspecified, to which we return through psychoanalysis. Or in behaviorism, if less distinctly, in the undocumented faith that it is the chaotic reinforcements of development and the social process that must be controlled and ordered to return man to a quite unspecified ideal before these reinforcements had twisted his true nature awry. I therefore believe that these and many other movements of our time are in the great long picture of our civilizations related to the loss of an earlier organization of human natures. They are attempts to return to what is no longer there, like poets to their inexistent Muses, and as such they are characteristic of these transitional millennia in which we are embedded.

• beauty
• ideal
• time
• nature
• faith
• neurosis
• innocence
• behaviorism
• history
• money
• corruption
• paradise
• civilization
• loss
• theory
• other

The assigning of causes to our behavior or saying why we did a particular thing is all a part of narratization. Such causes as reasons may be true or false, neutral or ideal. Consciousness is ever ready to explain anything we happen to find ourselves doing. The thief narratizes his act as due to poverty, the poet his as due to beauty, and the scientist his as due to truth, purpose and cause inextricably woven into the spatialization of behavior in consciousness.\n\n But it is not just our own analog 'I' that we are narratizing; it is everything else in consciousness. A stray fact is narratized to fit with some other stray fact. A child cries in the street and we narratize the event into a mental picture of a lost child and a parent searching for it. A cat is up in a tree and we narratize the event into a picture of a dog chasing it there. Or the facts of mind as we can understand them into a theory of consciousness.

• behavior
• consciousness
• narratization
• beauty
• truth
• ideal
• analog
• spatialization
• poverty
• theory
• other

Is this consciousness...this enormous influence of ideas, principles, beliefs over our lives and actions, really derivable from animal behavior? Alone of species, all alone! we try to understand ourselves and the world. We become rebels or patriots or martyrs on the basis of ideas. We build Chartres and computres, write poems and tensor equations, play chess and quartets, sail ships to other planets and listen in to other galaxies - what have these to do with rats in mazes or the threat displays of baboons? The continuity hypothesis of Darwin for the evolution of mind is a very suspicious totem of evolutionary mythology. The yearning for certainty which grails the scientist, the aching beauty which harasses the artist, the sweet thorn of justice which fierces the rebel from the eases of life, or the thrill of exultation with which we hear of true acts of that now difficult virtue of courage, of cheerful endurance of hopeless suffering - are these really derivable from matter? Or even continuous with the idiot hierarchies of speechless apes?\n\n The chasm is awesome. The emotional lives of men and of other mammals are indeed marvelously similar. But to focus upon the similarity unduly is to forget that such a chasm exists at all. The intellectual life of man, his culture and history and religion and science, is different from anything else we know of in the universe. That is fact. It is as if all life evolved to a certain point, and then in ourselves turned at a right angle and simply exploded in a different direction.

• animals
• consciousness
• darwin
• evolution
• humanity
• life
• religion
• science
• suffering
• beauty
• justice
• culture
• virtue
• behavior
• ideas
• courage
• history
• beliefs
• other
• influence
• endurance
• matter

We might say that the child is a “natural” coward: he cannot have the strength to support the terror of creation. The world as it is, creation out of the void, things as they are, things as they are not, are too much for us to be able to stand. Or, better: they would be too much for us to bear without crumbling in a faint, trembling like a leaf, standing in a trance in response to the movement, colors, and odors of the world. I say “would be” because most of us—by the time we leave childhood—have repressed our vision of the primary miraculousness of creation. We have closed it off, changed it, and no longer perceive the world as it is to raw experience. Sometimes we may recapture this world by remembering some striking childhood perceptions, how suffused they were in emotion and wonder—how a favorite grandfather looked, or one’s first love in his early teens. We change these heavily emotional perceptions precisely because we need to move about in the world with some kind of equanimity, some kind of strength and directness; we can’t keep gaping with our heart in our mouth, greedily sucking up with our eyes everything great and powerful that strikes us. The great boon of repression is that it makes it possible to live decisively in an overwhelmingly miraculous and incomprehensible world, a world so full of beauty, majesty, and terror that if animals perceived it all they would be paralyzed to act.

• creation
• children
• creativity
• magick
• fear
• struggle
• repression
• defense mechanism
• flag
• the fourth way
• love
• beauty
• animals
• emotion
• time
• experience
• change
• strength
• terror
• perception

We might say that the child is a “natural” coward: he cannot have the strength to support the terror of creation. The world as it is, creation out of the void, things as they are, things as they are not, are too much for us to be able to stand. Or, better: they would be too much for us to bear without crumbling in a faint, trembling like a leaf, standing in a trance in response to the movement, colors, and odors of the world. I say “would be” because most of us—by the time we leave childhood—have repressed our vision of the primary miraculousness of creation. We have closed it off, changed it, and no longer perceive the world as it is to raw experience. Sometimes we may recapture this world by remembering some striking childhood perceptions, how suffused they were in emotion and wonder—how a favorite grandfather looked, or one’s first love in his early teens. We change these heavily emotional perceptions precisely because we need to move about in the world with some kind of equanimity, some kind of strength and directness; we can’t keep gaping with our heart in our mouth, greedily sucking up with our eyes everything great and powerful that strikes us. The great boon of repression is that it makes it possible to live decisively in an overwhelmingly miraculous and incomprehensible world, a world so full of beauty, majesty, and terror that if animals perceived it all they would be paralyzed to act.

• children
• creation
• fear
• perception
• impressions
• repression
• experience
• love
• beauty
• animals
• emotion
• time
• change
• strength
• terror

As Brown so well says, the castration complex comes into being solely in confrontation with the mother. This phenomenon is very crucial, and we must linger a bit on how it happens. It all centers on the fact that the mother monopolizes the child’s world; at first, she is his world. The child cannot survive without her, yet in order to get control of his own powers he has to get free of her. The mother thus represents two things to the child, and it helps us understand why the psychoanalysts have said that ambivalence characterizes the whole early growth period. On the one hand the mother is a pure source of pleasure and satisfaction, a secure power to lean on. She must appear as the goddess of beauty and goodness, victory and power; this is her “light” side, we might say, and it is blindly attractive. But on the other hand the child has to strain against this very dependency, or he loses the feeling that he has aegis over his own powers. That is another way of saying that the mother, by representing secure biological dependence, is also a fundamental threat.

• beauty
• pleasure
• power
• light
• control
• centers
• victory
• terrible mother
• dragon fight
• other
• goddess

As Brown so well says, the castration complex comes into being solely in confrontation with the mother. This phenomenon is very crucial, and we must linger a bit on how it happens. It all centers on the fact that the mother monopolizes the child’s world; at first, she is his world. The child cannot survive without her, yet in order to get control of his own powers he has to get free of her. The mother thus represents two things to the child, and it helps us understand why the psychoanalysts have said that ambivalence characterizes the whole early growth period. On the one hand the mother is a pure source of pleasure and satisfaction, a secure power to lean on. She must appear as the goddess of beauty and goodness, victory and power; this is her “light” side, we might say, and it is blindly attractive. But on the other hand the child has to strain against this very dependency, or he loses the feeling that he has aegis over his own powers. That is another way of saying that the mother, by representing secure biological dependence, is also a fundamental threat.

• beauty
• pleasure
• power
• light
• control
• centers
• victory
• other
• goddess

Excreting is the curse that threatens madness because it shows man his abject finitude, his physicalness, the likely unreality of his hopes and dreams. But even more immediately, it represents man’s utter bafflement at: the sheer non-sense of creation: to fashion the sublime miracle of the human face, the mysterium tremendum of radiant feminine beauty, the veritable goddesses that beautiful women are; to bring this out of nothing, out of the void, and make it shine in noonday; to take such a miracle and put miracles again within it, deep in the mystery of eyes that peer out—the eye that gave even the dry Darwin a chill: to do all this, and to combine it with an anus that shits! It is too much. Nature mocks us, and poets live in torture.

• beauty
• nature
• creation
• madness
• darwin
• feminine
• dreams

Nature is force; and it is slavish to suffer force, to abdicate before it—to abdicate, that is, inwardly. And there too you have the humanistic position which runs not the slightest risk of involving itself in contradictions, or of relapsing into churchly hypocrisy, when it sees in the body the antagonist, the representative of the evil principle. The contradiction you imagine you see is at bottom always the same. ‘What have you against analysis?’ Nothing—when it serves the cause of enlightenment, freedom, progress. Everything when it is pervaded by the horrible haut goût of the grave. And thus too with the body. We are to honour and uphold the body when it is a question of emancipation, of beauty, of freedom of thought, of joy, of desire. We must despise it in so far as it sets itself up as the principle of gravity and inertia, when it obstructs the movement toward light;

• beauty
• desire
• freedom
• nature
• force
• thought
• light
• evil
• hypocrisy
• contradictions
• progress
• joy
• analysis
• body
• gravity

At some point we also need to get beyond these economic and even practical arguments and get back in touch with the deepest truth of all: Green is a value that needs to be preserved in and of itself, not because it is going to make your bank account richer but because it makes life richer and always has.  At the end of the day, that is what an 'ethic of conservation' is also about.  An ethic of conservation declares that maintaining our natural world is a value that is impossible to quantify but also impossible to ignore, because of the sheer beauty, wonder, joy, and magic that nature brings to being alive.

• nature
• respect
• responsibility
• beauty
• truth
• life
• joy

The spectacular consumption that preserves past culture in congealed form, including coopted rehashes of its negative manifestations, gives overt expression in its cultural sector to what it implicitly is in its totality: the communication of the incommunicable. The most extreme destruction of language can be officially welcomed as a positive development because it amounts to yet one more way of flaunting one’s acceptance of a status quo where all communication has been smugly declared absent. The critical truth of this destruction—the real life of modern poetry and art—is obviously concealed, since the spectacle, whose function is to use culture to bury all historical memory, applies its own essential strategy in its promotion of modernistic pseudoinnovations. Thus a school of neoliterature that baldly admits that it does nothing but contemplate the written word for its own sake can pass itself off as something new. Meanwhile, alongside the simple claim that the death of communication has a sufficient beauty of its own, the most modern tendency of spectacular culture—which is also the one most closely linked to the repressive practice of the general organization of society—seeks by means of “collective projects” to construct complex neoartistic environments out of decomposed elements, as can be seen in urbanism’s attempts to incorporate scraps of art or hybrid aesthetico-technical forms. This is an expression, in the domain of spectacular pseudoculture, of advanced capitalism’s general project of remolding the fragmented worker into a “socially integrated personality,” a tendency that has been described by recent American sociologists (Riesman, Whyte, etc.). In all these areas the goal remains the same: to restructure society without community.

• beauty
• death
• life
• society
• culture
• memory
• community
• truth
• expression
• past
• language
• capitalism
• the spectacle
• status
• communication
• personality
• art
• collective
• destruction

In Athens, in the time of Cicero, who expresses his surprise about this, the men and youths were far superior in beauty to the women. But what work and exertion the service of beauty had the male sex there imposed on itself for centuries! For one should make no mistake about the method in this case: a breeding of feelings and thoughts alone is almost nothing; one must first persuade the body. Strict perseverance in significant and exquisite gestures together with the obligation to live only with people who do not 'let themselves go' - that is quite enough for one to become significant and exquisite, and in two or three generations all this becomes inward. It is decisive for the lot of a people and of humanity that culture should begin in the right place - not in the 'soul' (as was the fateful superstition of the priests and half-priests): the right place is the body, the gesture, the diet, physiology; the rest follows from that. Therefore the Greeks remain the first cultural event in history: they knew, they did, what was needed; and Christianity, which despised the body, has been the greatest misfortune of humanity so far.

• ancient greece
• beauty
• christianity
• conscious development
• discipline
• soul
• humanity
• time
• work
• culture
• history
• obligation
• perseverance
• sex
• body

It is wrong, then to chide the novel for being fascinated by mysterious coincidences (like the meeting of Anna, Vronsky, the railway station, and death), but it is right to chide man for being blind to such coincidences in his daily life.  For he thereby deprives his life of a dimension of beauty.

• fate
• synchronicity
• coincidence
• circumstances
• beauty
• death
• life