An answer may be found without straying beyond the experience of every man and woman, and that answer hides within it a suggestion of the deeper truth that underlies it. After a week or a month of hurried town-life, of small excitements, of striving for the little triumphs of social life, of the eagerness of petty hopes, the pain of petty disappointments, of the friction arising from the jarring of our selfish selves with other selves equally selfish; after this, if we go far away from this hum and buzz of life into silent mountain solitudes where are sounding only the natural harmonies that seem to blend with rather than to break the silence - the rushing of the waterfall swollen by last night’s rain, the rustle of the leaves under the timid feet of the hare, the whisper of the stream to the water-hen as she slips out of the reeds, the murmur of the eddy where it laps against the pebbles on the bank, the hum of the insects as they brush through the tangle of the grasses, the suck of the fish as they hang in the pool beneath the shade; there, where the mind sinks into a calm, soothed by the touch of Nature far from man, what aspect have the follies, the exasperations, of the social whirl of work and play, seen through that atmosphere surcharged with peace? What does it matter if in some small strife we failed or we succeeded? What does it matter that we were slighted by one, praised, by another? We regain perspective by our distance from the whirlpool, by our isolation from its tossing waters, and we see how small a part these outer things should play in the true life of man.
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SENECAN TRAGEDY: A following the conventions of the Roman writer Lucius Anneaus Seneca Minor (Seneca the Younger), a first-century CE stoic philosopher and philosopher who dabbled as a playwright and wrote ten surviving tragedies. Humanist scholars in the Renaissance rediscovered his lost works, and they became influential in Elizabethan and Neoclassical drama. Senecan tragedies tend to focus on gruesome, bloodthirsty revenge. They are unusual in that the violence takes place on stage before the audience, as opposed to the classical Greek tradition, in which murders and suicides typically took place off-stage while the on-stage characters reacted to the news or to what they hear nearby. Examples of Renaissance tragedies influenced by the Senecan mode include Shakespeare's Hamlet, Thomas Kydd's The Spanish Tragedy and John Webster's The Duchess of Malfi.
Literary Terms and Definitions: P - Carson-Newman …
AMONG the many forces which inspire men to activity, none, perhaps, plays a greater part than the feeling we call devotion, - together with some feelings that often mask themselves under its name though fundamentally differing from it in essence. The most heroic self-sacrifices have been inspired by it, while the most terrible sacrifices of others have been brought about by its pseudo-sister fanaticism. It is as powerful a lever for raising a man as is the other for his degradation. The two sway mankind with over-mastering power, and in some of their manifestations show an illusory resemblance; but the one has its roots in knowledge, the other in ignorance; the one bears the fruits of love, the other the poison-apples of hate.
The Moment and Other Essays, by Virginia Woolf, free ebook
Devotion gives peace. The heart at peace in the Self is at peace with all. The devotee sees the Self in all; all forms around him bear the impress of the Beloved. How then can he hate or despise or repel any, when the face he loves smiles at him behind every mask? “Sages look with equal eye on a Brâhmana adorned with learning and humility, on a cow, an elephant, and even a dog and a dog-eater” (, v. 18.) No one, nothing; can be outside the heart of the devotee, since nothing is outside the embrace of his Lord. If we love the very objects touched by the one we love, how shall we not love all forms in which the Beloved is enshrined? A child in his play may draw over his laughing face a hideous mask, but the mother knows her darling is underneath; and when in the world-lilâ the Lord is hidden under form repulsive, His lovers are not repelled, but see only Him. There is no creature, moving or unmoving, that exists bereft of Him, and in the heart-chamber of the vilest sinner the Holiest abides.
Freudian Psychoanalysis – Literary Theory and Criticism …
How then can we break our bonds? The real answer is suggested in that law which I have been showing to you. The bonds are broken by these inevitable experiences which life after life teach the Soul the nature of the universe into which it has come. But desire is a binding force, and as long as there is desire so long must men come back to birth. The desire for good will draw it back as well as the desire for evil, the desire for religious happiness will draw it back, as well as the desire for earthly joys; the desire for the praise of men, for love, for knowledge even. A Soul may desire results of a high and noble character; still there is a desire for results, and this must bind it to places where the results are to be found. Therefore in order to get rid of we must get rid of Not cease from action - that is unnecessary, but act without desire - making every effort which is necessary, yet indifferent to the result. This is the familiar lesson given by Shri Krishna, this the essence of all truth. It is renunciation of desire, not of action, which makes the real Sannyasi, which makes the renunciator, which makes the Yogi, aYogi - not one only in the wearing of yellow garments and ashes - but a Yogi who has broken all the bonds of desire, and not simply one who is an outward renunciator. For the man of action who performs every action because it is his duty, and remains indifferent to the fruits thereof, that man in the world is the servant of God; he is one who performs every action, - not for what it brings him but because it fills up something lacking which ought to be done in the world in which he lives as an agent of God. A man who realises that the wheel of life must turn, and who takes part in the turning of the wheel, not for what the turning of the wheel may bring to him, but in order that the Divine life may circle in its course, - he plays his part in working without attachment, without desire, and turns the wheel whether it brings him pleasure or pain, whether it brings him praise or blame, fame or ignominy, Divine knowledge or ignorance - anything the wheel may bring him. He only perceives that it is his duty to cooperate with God while manifestation persists and he therefore identifies himself with the God from Whom the turning of the wheel proceeds. He is then one with Shri Krishna who declared that He had nothing to obtain in Heavens or on earth, but that if He stopped acting all would stop. And therefore the devotee who acts, not in order that he may get anything but in order that the Divine purpose may be fulfilled, he works by way of sacrifice; he offers all his actions as sacrifices to God and remains indifferent to the fruits of the sacrifice, for they lie at the feet of God and not in the heart of the devotee. Such a man makes no , for such a man has no ; such a man creates no links which bind him to earth, such a man is spiritually free, although around him actions may spring up on every side. Thus is it when a man is born into the sphere of knowledge; thus is it when a man is born into the sphere of devotion; and the life of such a man is as an altar, and burning upon that altar is the flame of devotion and of knowledge. Every action is cast into the fire and is consumed therein, rising up as the smoke of a sacrifice and leaving behind on the altar nothing save the fuel of knowledge and the fire of love.