Without Lifting A Finger

 

And Penelope answered, “Stranger, dreams are very curious and unaccountable things, and they do not by any means invariably come true. There are two gates through which these unsubstantial fancies proceed; the one is of horn, and the other ivory. Those that come through the gate of ivory are fatuous, but those from the gate of horn mean something to those that see them. I do not think, however, that my own dream came through the gate of horn, though I and my son should be most thankful if it proves to have done so. Furthermore I say—and lay my saying to your heart—the coming dawn will usher in the ill-omened day that is to sever me from the house of Ulysses, for I am about to hold a tournament of axes. My husband used to set up twelve axes in the court, one in front of the other, like the stays upon which a ship is built; he would then go back from them and shoot an arrow through the whole twelve. I shall make the suitors try to do the same thing, and whichever of them can string the b...

 

“Telemachus,” said he, “that bird did not fly on your right hand without having been sent there by some god. As soon as I saw it I knew it was an omen; it means that you will remain powerful and that there will be no house in Ithaca more royal than your own.” “I wish it may prove so,” answered Telemachus. “If it does, I will show you so much good will and give you so many presents that all who meet you will congratulate you.”

 

As he was thus speaking a bird flew on his right hand—an eagle with a great white goose in its talons which it had carried off from the farm yard—and all the men and women were running after it and shouting. It came quite close up to them and flew away on their right hands in front of the horses. When they saw it they were glad, and their hearts took comfort within them, whereon Pisistratus said, “Tell me, Menelaus, has heaven sent this omen for us or for you?” Menelaus was thinking what would be the most proper answer for him to make, but Helen was too quick for him and said, “I will read this matter as heaven has put it in my heart, and as I doubt not that it will come to pass. The eagle came from the mountain where it was bred and has its nest, and in like manner Ulysses, after having travelled far and suffered much, will return to take his revenge—if indeed he is not back already and hatching mischief for the suitors.” “May Jove so grant it,” replied Telemachus, “if it should prove...

“I saw also the dreadful fate of Tantalus, who stood in a lake that reached his chin; he was dying to quench his thirst, but could never reach the water, for whenever the poor creature stooped to drink, it dried up and vanished, so that there was nothing but dry ground—parched by the spite of heaven. There were tall trees, moreover, that shed their fruit over his head—pears, pomegranates, apples, sweet figs and juicy olives, but whenever the poor creature stretched out his hand to take some, the wind tossed the branches back again to the clouds. “And I saw Sisyphus at his endless task raising his prodigious stone with both his hands. With hands and feet he tried to roll it up to the top of the hill, but always, just before he could roll it over on to the other side, its weight would be too much for him, and the pitiless stone[98] would come thundering down again on to the plain. Then he would begin trying to push it up hill again, and the sweat ran off him and the steam rose after him.

“The first ghost that came was that of my comrade Elpenor, for he had not yet been laid beneath the earth. We had left his body unwaked and unburied in Circe’s house, for we had had too much else to do. I was very sorry for him, and cried when I saw him: ‘Elpenor,’ said I, ‘how did you come down here into this gloom and darkness? You have got here on foot quicker than I have with my ship.’ “‘Sir,’ he answered with a groan, ‘it was all bad luck, and my own unspeakable drunkenness. I was lying asleep on the top of Circe’s house, and never thought of coming down again by the great staircase but fell right off the roof and broke my neck, so my soul came down to the house of Hades. And now I beseech you by all those whom you have left behind you, though they are not here, by your wife, by the father who brought you up when you were a child, and by Telemachus who is the one hope of your house, do what I shall now ask you. I know that when you leave this limbo you will again hold your ship fo...

“We were frightened out of our senses by his loud voice and monstrous form, but I managed to say, ‘We are Achaeans on our way home from Troy, but by the will of Jove, and stress of weather, we have been driven far out of our course. We are the people of Agamemnon, son of Atreus, who has won infinite renown throughout the whole world, by sacking so great a city and killing so many people. We therefore humbly pray you to show us some hospitality, and otherwise make us such presents as visitors may reasonably expect. May your excellency fear the wrath of heaven, for we are your suppliants, and Jove takes all respectable travellers under his protection, for he is the avenger of all suppliants and foreigners in distress.’ “To this he gave me but a pitiless answer, ‘Stranger,’ said he, ‘you are a fool, or else you know nothing of this country. Talk to me, indeed, about fearing the gods or shunning their anger? We Cyclopes do not care about Jove or any of your blessed gods, for we are ever so...

 

And now, as Dawn rose from her couch beside Tithonus—harbinger of light alike to mortals and immortals—the gods met in council and with them, Jove the lord of thunder, who is their king. Thereon Minerva began to tell them of the many sufferings of Ulysses, for she pitied him away there in the house of the nymph Calypso. “Father Jove,” said she, “and all you other gods that live in everlasting bliss, I hope there may never be such a thing as a kind and well-disposed ruler any more, nor one who will govern equitably. I hope they will be all henceforth cruel and unjust, for there is not one of his subjects but has forgotten Ulysses, who ruled them as though he were their father. There he is, lying in great pain in an island where dwells the nymph Calypso, who will not let him go; and he cannot get back to his own country, for he can find neither ships nor sailors to take him over the sea. Furthermore, wicked people are now trying to murder his only son Telemachus, who is coming home from ...

Every man’s work, whether it be literature or music or pictures or architecture or anything else, is always a portrait of himself, and the more he tries to conceal himself the more clearly will his character appear in spite of him.  I may very likely be condemning myself, all the time that I am writing this book, for I know that whether I like it or no I am portraying myself more surely than I am portraying any of the characters whom I set before the reader.  I am sorry that it is so, but I cannot help it—after which sop to Nemesis I will say that Battersby church in its amended form has always struck me as a better portrait of Theobald than any sculptor or painter short of a great master would be able to produce.

How little do we know our thoughts—our reflex actions indeed, yes; but our reflex reflections!  Man, forsooth, prides himself on his consciousness!  We boast that we differ from the winds and waves and falling stones and plants, which grow they know not why, and from the wandering creatures which go up and down after their prey, as we are pleased to say without the help of reason.  We know so well what we are doing ourselves and why we do it, do we not?  I fancy that there is some truth in the view which is being put forward nowadays, that it is our less conscious thoughts and our less conscious actions which mainly mould our lives and the lives of those who spring from us.

Samuel Butler (4 December 1835 – 18 June 1902) was an English novelist and critic, best known for the satirical utopian novel Erewhon (1872) and the semi-autobiographical novel The Way of All Flesh (published posthumously in 1903 with substantial revisions and published in its original form in 1964 as Ernest Pontifex or The Way of All Flesh ). Both novels have remained in print since their initial publication. In other studies he examined Christian orthodoxy , evolutionary thought , and Italian art, and made prose translations of the Iliad and Odyssey that are still consulted. [ 1 ] [ 2 ] (Wikipedia)

“My boy,” returned my father, “you must not judge by the work, but by the work in connection with the surroundings.  Could Giotto or Filippo Lippi, think you, have got a picture into the Exhibition?  Would a single one of those frescoes we went to see when we were at Padua have the remotest chance of being hung, if it were sent in for exhibition now?  Why, the Academy people would be so outraged that they would not even write to poor Giotto to tell him to come and take his fresco away.  Phew!” continued he, waxing warm, “if old Pontifex had had Cromwell’s chances he would have done all that Cromwell did, and have done it better; if he had had Giotto’s chances he would have done all that Giotto did, and done it no worse; as it was, he was a village carpenter, and I will undertake to say he never scamped a job in the whole course of his life.” “But,” said I, “we cannot judge people with so many ‘ifs.’  If old Pontifex had lived in Giotto’s time he might have been ...

 

"No honor, no heart, no religion; a corrupt woman. I always knew it and always saw it, though I tried to deceive myself to spare her," he said to himself. And it actually seemed to him that he always had seen it: he recalled incidents of their past life, in which he had never seen anything wrong before — now these incidents proved clearly that she had always been a corrupt woman. "I made a mistake in linking my life to hers; but there was nothing wrong in my mistake, and so I cannot be unhappy. It's not I that am to blame," he told himself, "but she. But I have nothing to do with her. She does not exist for me…" Everything relating to her and her son, towards whom his sentiments were as much changed as towards her, ceased to interest him. The only thing that interested him now was the question of in what way he could best, with most propriety and comfort for himself, and thus with most justice, extricate himself from the mud with which she had spattere...

Levin looked about him and hardly recognized the place, everything was so changed. The immense stretch of meadow had been mown and was sparkling with a peculiar fresh brilliance, with its lines of already sweet-smelling grass in the slanting rays of the evening sun. And the bushes about the river had been cut down, and the river itself, not visible before, now gleaming like steel in its bends, and the moving, ascending, peasants, and the sharp wall of grass of the unmown part of the meadow, and the hawks hovering over the stripped meadow — all was perfectly new. Raising himself, Levin began considering how much had been cut and how much more could still be done that day.

How exquisite this steely water is!" said Sergey Ivanovitch. "These riverside banks always remind me of the riddle — do you know it? 'The grass says to the water: we quiver and we quiver.'" "I don't know the riddle," answered Levin wearily. &&& Some background info on the Russian traditional riddle (via Google AI): No, they do not all speak in the excerpt from Anna Karenina , but yes, they all speak in the full traditional riddle that Tolstoy was referencing. [ 1 ] When Sergey Ivanovich quotes the riddle to Levin in the novel, he only recites the very last line: "The grass says to the water: we sway and we sway" (or "we quiver and we quiver" depending on your translation). [ 1 , 2 , 3 ] However, Tolstoy included the complete, unabridged folk riddle in his 1872 ABC Book ( Азбука ) , where each of the three elements gets a speaking part: [ 1 , 2 , 3 ] The River says: "We will run and run." The Banks say: ...

At that moment, when the revelation of everything was hanging over him, there was nothing he expected so much as that she would answer mockingly as before that his suspicions were absurd and utterly groundless. So terrible to him was what he knew that now he was ready to believe anything. But the expression of her face, scared and gloomy, did not now promise even deception. "Possibly I was mistaken," said he. "If so, I beg your pardon." "No, you were not mistaken," she said deliberately, looking desperately into his cold face. "You were not mistaken. I was, and I could not help being in despair. I hear you, but I am thinking of him. I love him, I am his mistress; I can't bear you; I'm afraid of you, and I hate you…. You can do what you like to me." And dropping back into the corner of the carriage, she broke into sobs, hiding her face in her hands. Alexey Alexandrovitch did not stir, and kept looking straight before him. But his whole fac...