Robert Louis Stevenson on the Ten Commandments

From Lay Morals (1879) by Robert Louis Stevenson


 

But, I may be told, we teach the ten commandments, where a world of morals lies condensed, the very pith and epitome of all ethics and religion; and a young man with these precepts engraved upon his mind must follow after profit with some conscience and Christianity of method.  A man cannot go very far astray who neither dishonours his parents, nor kills, nor commits adultery, nor steals, nor bears false witness; for these things, rightly thought out, cover a vast field of duty.

Alas! what is a precept?  It is at best an illustration; it is case law at the best which can be learned by precept.  The letter is not only dead, but killing; the spirit which underlies, and cannot be uttered, alone is true and helpful.  This is trite to sickness; but familiarity has a cunning disenchantment; in a day or two she can steal all beauty from the mountain tops; and the most startling words begin to fall dead upon the ear after several repetitions.  If you see a thing too often, you no longer see it; if you hear a thing too often, you no longer hear it.  Our attention requires to be surprised; and to carry a fort by assault, or to gain a thoughtful hearing from the ruck of mankind, are feats of about an equal difficulty and must be tried by not dissimilar means.  The whole Bible has thus lost its message for the common run of hearers; it has become mere words of course; and the parson may bawl himself scarlet and beat the pulpit like a thing possessed, but his hearers will continue to nod; they are strangely at peace, they know all he has to say; ring the old bell as you choose, it is still the old bell and it cannot startle their composure.  And so with this byword about the letter and the spirit.  It is quite true, no doubt; but it has no meaning in the world to any man of us.  Alas! it has just this meaning, and neither more nor less: that while the spirit is true, the letter is eternally false.

The shadow of a great oak lies abroad upon the ground at noon, perfect, clear, and stable like the earth.  But let a man set himself to mark out the boundary with cords and pegs, and were he never so nimble and never so exact, what with the multiplicity of the leaves and the progression of the shadow as it flees before the travelling sun, long ere he has made the circuit the whole figure will have changed.  Life may be compared, not to a single tree, but to a great and complicated forest; circumstance is more swiftly changing than a shadow, language much more inexact than the tools of a surveyor; from day to day the trees fall and are renewed; the very essences are fleeting as we look; and the whole world of leaves is swinging tempest-tossed among the winds of time.  Look now for your shadows.  O man of formulæ, is this a place for you?  Have you fitted the spirit to a single case?  Alas, in the cycle of the ages when shall such another be proposed for the judgment of man?  Now when the sun shines and the winds blow, the wood is filled with an innumerable multitude of shadows, tumultuously tossed and changing; and at every gust the whole carpet leaps and becomes new.  Can you or your heart say more?

Look back now, for a moment, on your own brief experience of life; and although you lived it feelingly in your own person, and had every step of conduct burned in by pains and joys upon your memory, tell me what definite lesson does experience hand on from youth to manhood, or from both to age?  The settled tenor which first strikes the eye is but the shadow of a delusion.  This is gone; that never truly was; and you yourself are altered beyond recognition.  Times and men and circumstances change about your changing character, with a speed of which no earthly hurricane affords an image.  What was the best yesterday, is it still the best in this changed theatre of a to-morrow?  Will your own Past truly guide you in your own violent and unexpected Future?  And if this be questionable, with what humble, with what hopeless eyes, should we not watch other men driving beside us on their unknown careers, seeing with unlike eyes, impelled by different gales, doing and suffering in another sphere of things?

And as the authentic clue to such a labyrinth and change of scene, do you offer me these two score words? these five bald prohibitions?  For the moral precepts are no more than five; the first four deal rather with matters of observance than of conduct; the tenth, Thou shalt not covet, stands upon another basis, and shall be spoken of ere long.  The Jews, to whom they were first given, in the course of years began to find these precepts insufficient; and made an addition of no less than six hundred and fifty others!  They hoped to make a pocket-book of reference on morals, which should stand to life in some such relation, say, as Hoyle stands in to the scientific game of whist.  The comparison is just, and condemns the design; for those who play by rule will never be more than tolerable players; and you and I would like to play our game in life to the noblest and the most divine advantage.  Yet if the Jews took a petty and huckstering view of conduct, what view do we take ourselves, who callously leave youth to go forth into the enchanted forest, full of spells and dire chimeras, with no guidance more complete than is afforded by these five precepts?

Honour thy father and thy mother.  Yes, but does that mean to obey? and if so, how long and how far?  Thou shall not kill.  Yet the very intention and purport of the prohibition may be best fulfilled by killing.  Thou shall not commit adultery.  But some of the ugliest adulteries are committed in the bed of marriage and under the sanction of religion and law.  Thou shalt not bear false witness.  How? by speech or by silence also? or even by a smile?  Thou shalt not steal.  Ah, that indeed!  But what is to steal? Continue reading “Robert Louis Stevenson on the Ten Commandments”

The Sea — Tomer Hanuka

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St John the Baptist in the Wilderness — Hieronymus Bosch

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“Short History of the Americas” — Tom Clark

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Lovers with Cat — Oskar Kokoschka

Voyage d’Hermès — Moebius

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“The Star” — H.G. Wells

The Graphic 25/12/1897, Christmas Issue p.18
Illustration to Wells’s “The Star” by Ludek Marold

“The Star”

by

H.G. Wells


It was on the first day of the New Year that the announcement was made, almost simultaneously from three observatories, that the motion of the planet Neptune, the outermost of all the planets that wheel about the sun, had become very erratic. Ogilvy had already called attention to a suspected retardation in its velocity in December. Such a piece of news was scarcely calculated to interest a world the greater portion of whose inhabitants were unaware of the existence of the planet Neptune, nor outside the astronomical profession did the subsequent discovery of a faint remote speck of light in the region of the perturbed planet cause any very great excitement. Scientific people, however, found the intelligence remarkable enough, even before it became known that the new body was rapidly growing larger and brighter, that its motion was quite different from the orderly progress of the planets, and that the deflection of Neptune and its satellite was becoming now of an unprecedented kind.

Few people without a training in science can realise the huge isolation of the solar system. The sun with its specks of planets, its dust of planetoids, and its impalpable comets, swims in a vacant immensity that almost defeats the imagination. Beyond the orbit of Neptune there is space, vacant so far as human observation has penetrated, without warmth or light or sound, blank emptiness, for twenty million times a million miles. That is the smallest estimate of the distance to be traversed before the very nearest of the stars is attained. And, saving a few comets more unsubstantial than the thinnest flame, no matter had ever to human knowledge crossed this gulf of space, until early in the twentieth century this strange wanderer appeared. A vast mass of matter it was, bulky, heavy, rushing without warning out of the black mystery of the sky into the radiance of the sun. By the second day it was clearly visible to any decent instrument, as a speck with a barely sensible diameter, in the constellation Leo near Regulus. In a little while an opera glass could attain it.

On the third day of the new year the newspaper readers of two hemispheres were made aware for the first time of the real importance of this unusual apparition in the heavens. “A Planetary Collision,” one London paper headed the news, and proclaimed Duchaine’s opinion that this strange new planet would probably collide with Neptune. The leader writers enlarged upon the topic; so that in most of the capitals of the world, on January 3rd, there was an expectation, however vague of some imminent phenomenon in the sky; and as the night followed the sunset round the globe, thousands of men turned their eyes skyward to see–the old familiar stars just as they had always been. Continue reading ““The Star” — H.G. Wells”

The Madman and the Soldier — Lajos Gulacsy

The reader is dreaming (Robert Walser/Karl Walser/Lydia Davis)

A young lady, a girl of perhaps twenty, is sitting in a chair and reading a book. Or she has just been diligently reading, and now she is reflecting on what she has read. This often happens, that someone who is reading must pause, because all sorts of ideas having to do with the book keenly engage him. The reader is dreaming; perhaps she is comparing the subject matter of the book to her own experiences hitherto; she is thinking about the hero of the book, while she fancies herself almost its heroine.

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Read the rest of Robert Walser’s microessay “Portrait of a Lady” (trans. by Lydia Davis) at The Offing. The painting–Portrait of a Lady—is by Karl Walser, Robert’s older brother.

Entries under “E” from Captain Grose’s Dictionary of the Vulgar Tongue (1811)

The following definitions are from the “E” section of Captain Grose’s Dictionary of the Vulgar Tongue (1811).

EARNEST. A deposit in part of payment, to bind a bargain.

EARTH BATH. A Grave.

EASY. Make the cull easy or quiet; gag or kill him. As easy as pissing the bed.

EASY VIRTUE. A lady of easy virtue: an impure or prostitute.

EAT. To eat like a beggar man, and wag his under jaw; a jocular reproach to a proud man. To eat one’s words; to retract what one has said.

TO EDGE. To excite, stimulate, or provoke; or as it is vulgarly called, to egg a man on. Fall back, fall edge; i.e. let what will happen. Some derive to egg on, from the Latin word, AGE, AGE.

EIGHT EYES. I will knock out two of your eight eyes; a common Billingsgate threat from one fish nymph to another: every woman, according to the naturalists of that society, having eight eyes; viz. two seeing eyes, two bub-eyes, a bell-eye, two pope’s eyes, and a ***-eye. He has fallen down and trod upon his eye; said of one who has a black eye.

ELBOW GREASE. Labour. Elbow grease will make an oak
table shine.

ELBOW ROOM. Sufficient space to act in. Out at elbows;
said of an estate that is mortgaged.

ELBOW SHAKER. A gamester, one who rattles Saint Hugh’s
bones, i.e. the dice.

ELLENBOROUGH LODGE. The King’s Bench Prison. Lord
Ellenborough’s teeth; the chevaux de frize round the top
of the wall of that prison.

ELF. A fairy or hobgoblin, a little man or woman.

EMPEROR. Drunk as an emperor, i.e. ten times as drunk as a lord.

ENGLISH BURGUNDY. Porter.

ENSIGN BEARER. A drunken man, who looks red in the face, or hoists his colours in his drink.

EQUIPT. Rich; also, having new clothes. Well equipt; full of money, or well dressed. The cull equipped me with a brace of meggs; the gentleman furnished me with. a couple of guineas.

ESSEX LION. A calf; Essex being famous for calves, and
chiefly supplying the London markets.

ESSEX STILE. A ditch; a great part of Essex is low marshy
ground, in which there are more ditches than Stiles.

ETERNITY Box. A coffin.

EVES. Hen roosts.

EVE’S CUSTOM-HOUSE, where Adam made his first entry.
The monosyllable.

EVES DROPPER. One that lurks about to rob hen-roosts; also a listener at doors and windows, to hear private conversation.

EVIL. A halter. Cant, Also a wife.

EWE. A white ewe; a beautiful woman. An old ewe, drest lamb fashion; an old woman, drest like a young girl.

EXECUTION DAY. Washing day.

EXPENDED. Killed: alluding to the gunner’s accounts, wherein the articles consumed are charged under the title of expended. Sea phrase.

EYE. It’s all my eye and Betty Martin. It’s all nonsense, all mere stuff.

EYE-SORE. A disagreeable object. It will be an eye-sore as long as she lives, said by a limn whose wife was cut for a fistula in ano.

The Tower of Babel — Nils Ole Lund

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Three Soldiers — Pieter Bruegel the Elder

Selections from One-Star Amazon Reviews of Virginia Woolf’s Mrs. Dalloway

[Editorial note: The following citations come from one-star Amazon reviews Virginia Woolf’s novel Mrs. DallowayI’ve preserved the reviewers’ original punctuation and spelling. More one-star Amazon reviews.].


I had been warned about Woolf

written, I believe, to impress rather than to relate.

I don’t appreciate her writing and keep coming back for more

I may not be giving it a fair review since I only made it to page 65

pages and pages of surreal metaphors that go on for 10 paragraphs

Woolf had a huge obsession with semi-colons

The book just does not make any sense

I really liked the movie “the Hours”

nonsensical semi-flashbacks

Groundbreaking prose?

I tried, I really did

describing nothing

Written by a lesbian

Kind of like F. Scott Fitzgerald’s works

DO read “The Hours”, you will be impressed

I kept losing track of which character was musing about nothing

I suppose Woolf is considered a genius since she was apparently a cavalier writer of her generation

Let us listen to an old farty woman stream her consciousness to us to hear, pointless thoughts that go nowhere

I’m grateful that contemporary writers can at least string together 2 sentences that follow one another in a logical sequence

Lets burn every sentence she ever penned to end all the unneccesary suffering that curious readers have to go through when they first pick up “Mrs. Dalloway.”

My suggestion: just watch The Hours – you’ll get all the beauty and none of the confusion

the person responsible, Virginia Wolf, has been dead for quite some time now

i have no interest in reading about that lifestyle

am stuck in her growling semicolons

slower than a tortoise

ramblings of a lunatic

As bad as Faulkner

So much language

dreadfully boring

run-on sentences

“literary” drivel

terribly written

so many words

and never getting to a plot

Stream of conscience you say?

I normally enjoy stream of consciousness

The narrative reads like the inner thoughts of a sugar crazed autistic kid with ADD in the middle of a carnival

everyone i know who likes this book only does so because he or she was told by some professor that it’s supposed to be good and can provide no evidence to confirm it

This book certainly shows the depravity of man and a self-centered life and the meaningless found amongst those who think of none but themselves.

The absence of spacing to differentiate between each character’s thought process makes for unnecessary confusion

I really liked the idea of the story taking place over the course of one day

THIS BOOK IS WORSE THAN AIDS!

meandering and repetetive

will suffice as kindling

The party! The party!

VW was mentally-ill

“Dense”

put me off

definitley not a fun read

pretty gross hair and stuff on it/ in it

I had had to read it, or was supposed to

haven’t been able to get past the first chapter

lovely idea, virginia and i applaud you for your creativity

I felt like I was reading some writing student’s homework assignment

The Hours is better, despite its inspiration

this story line is too depressing for me

Descriptions were beaten to death

Not one thing uplifting

I am an avid reader!

the book failed

hyphens

The Sacrifice of Cain and Abel — Mariotto Albertinelli

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Ian Svenonius’s Censorship Now!! (Book acquired, 9.29.2015)

This is the blurb for Ian Svenonius’s book Censorship Now!!:
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The non-blurb is of course a blurb.

If you think that that move is brilliant, or even funny, you might dig Censorship Now!!

Publisher Akashic Books has the good sense to offer a description of the book:

In this outrageous and hilarious new essay collection, underground music icon Ian F. Svenonius tackles such diverse subjects as IKEA, Apple, the weather, the gentrification of punk by indie rock, Marion Barry, the film Heathers, Christian pornography, vampires, hoarding, the role of sugar in empire-building, how to properly tip at restaurants, the return of the hat in men’s fashion, and other highly topical matters. No one is left unscathed, and more than a few will be left scratching their heads even as they laugh.

In high school, I dug Svenonius’s first band Nation of Ulysses—more as a concept than for the music, really (I much preferred Dischord label mates Fugazi). The goofy-seriousiousness of Nation of Ulysses was entertaining and confusing, but like later musical projects The Make-Up and Weird War, Svenonius’s band never struck me as quite as dangerous as they wanted to be.

My best friend was always a bigger fan of Svenonius than I was—enough to have read the dude’s first book, The Psychic Soviet. I texted him when I first started reading Censorship Now!!, complaining that I couldn’t tell if Svenonius was serious or if the book was all a schtick, an ageing scenester’s put-on. My pal replied that Svenonius was “a professional sloganeer,” and that every sentence of The Psychic Soviet was a “pull quote.”

Every line a pull quote, every sentence a slogan is how Censorship Now!! reads (if those two exclamation marks didn’t tip you off). The book’s essays read like the rants of someone’s older brother trying to hip you to the truth, man. But after you grow up you wonder why the brother’s still living in his parents’ basement. Okay. That sounds a bit too, I don’t know, rude of me (?) — but I can’t find anything particularly profound in Svenonius’s raging against Apple and Wikipedia and the bourgeoisie. (His riff on Ikea (“Ikea wants couples to break up”) reeks of a bad comedy routine).

Censorship Now!! (which always reads like a talk book, and never as prose) is simultaneously reactionary and nostalgic. Svenonius hates all the things you’d expect him to (NPR, Urban Outfitters, Arcade Fire, gentrification) and even some things you might not expect (tipping). Loose opinion and easy reference are employed instead of facts (sample slogan:  “Destroy All Facts” How revolutionary!).

Does it matter? It doesn’t matter. The fourteen year-old me would’ve loved this shit. There’s a fourteen year-old out there that would love it now.

A Pictish Warrior Holding a Human Head — John White

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Tree Trunks in the Grass — Vincent van Gogh