3776 lines
167 KiB
Plaintext
3776 lines
167 KiB
Plaintext
***The Project Gutenberg Etext of Stories From the Old Attic***
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**This is a COPYRIGHTED Project Gutnberg Etext, Details Below**
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Stories From the Old Attic, by Robert Harris (C) 1992
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Stories From the Old Attic
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by Robert Harris
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April, 1995 [Etext #240]
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***The Project Gutenberg Etext of Stories From the Old Attic***
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Stories From The Old Attic, by Robert Harris (C)1992
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STORIES FROM THE OLD ATTIC
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Robert Harris
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1992
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Copyright 1992 Robert Harris
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Permission is granted to share this book as an electronic text
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All other rights, include hardcopy publication, are reserved
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To Mom
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Contents:
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The Second Greatest Commandment
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A Good Horse and a Better
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It's Nut Valuable
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Stewardship
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The Man Who Believed in Miracles
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A Fish Story
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Man
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Love
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Indecision
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The Limit
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How Sir Reginald Helped the King
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How the Noble Percival Won the Fair Arissa
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Truth Carved in Stone
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How Sir Philo Married a Beautiful Princess Instead of the Woman He Loved
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Serendipity
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A Tale Revealing the Wisdom of Being a Cork on the River of Life
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The Art of Truth
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Matthew 18:3
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The Boy and the Vulture
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Three Flat Tires
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The History of Professor De Laix
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How the Humans Finally Learned to Like Themselves
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The Caterpillar and the Bee
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The Wise One
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On the Heroic Suffering of Mankind
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The Quest
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Life
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Discernment
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It Depends on How You Look at It: Eight Vignettes on Perspective
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The Strange Adventure
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In Defeat There Is Victory
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The Oppressed Girl
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Two Conversations on Direction
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Semiotics Strikes Out
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Seeing is Believing
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A Traditional Story
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The Day Creativity Met the Linear Dragon
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The Wall and the Bridge
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The Wish
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Several One Way Conversations
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How the King Learned about Love
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The Fly and the Elephant
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The Man Who Talked Backwards
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The Clue
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An Analogy
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The Second Greatest Commandment
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A man was out shoveling the excess gravel off his driveway and
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into the graveled road that ran by his house. A neighbor happened
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to be walking by just as the man tossed a shovel full down the road
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the opposite way the man used to drive in and out. "I see you
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aren't messing up the part of the road you use," sneered the neighbor.
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A few minutes later another neighbor happened by and saw the
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man toss a shovel full of gravel down the other part of the road. "I
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see you are fixing only the part of the road you use, and not the
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part others must use," sneered the second neighbor.
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The shoveler stood still with a shovel full of gravel as the
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second man left. Now unsure of what to do with it that would be
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agreeable to his neighbors, he decided simply to dump it out onto
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his driveway on the very spot whence he had scooped it up. Just as
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he did so, a third neighbor happened to be walking by. "I see you
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are stealing gravel from the road for your driveway," sneered the
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third man. "People like you are what's wrong with this country."
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At this point the homeowner put his shovel away and sat down
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with his pipe to contemplate these occurrences. Pretty soon a
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neighbor from further down the street drove by and saw the man
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sitting down enjoying his pipe. "If you weren't so lazy, you'd
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shovel some of that gravel off your driveway and back onto the road
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where it belongs," the driver sneered as he drove away, spinning his
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tires and scattering gravel in every direction.
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A Good Horse and a Better
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A man once came upon a lad about midday skipping stones across
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a pond. "Hello, young man," he said, approaching. "What brings you
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here on a school day?"
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"I wrote a poem yesterday which was the best in class, and the
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teacher said I could play today while the other children wrote
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more poems."
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"Well, then, you are to be congratulated. Yours is certainly a
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deed of distinction. And as a reward," he added, settling himself
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on a tree stump, "let me tell you a story about two horses."
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"Oh, yes, do," the youth said eagerly, sitting down at the
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man's feet.
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"The first horse lived in Arabia, and he was beautiful and
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strong. He had never lost a race. And he was shrewd. He would
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run just hard enough to pull away from the other horses in the race,
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and then he would let up and trot, or even walk, across the finish
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line, to the great embarrassment and humiliation of all the
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other horses."
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"He was clearly a superior animal," the young poet interjected.
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"Yes, he was," agreed the man. "Now the other horse lived in
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Macedonia, and he, too, was strong and noble. He had, however, lost
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one race, the first race of his life; and some say he always
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remembered that when he ran."
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"How grating to the heart it must be to lose so early and have
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a blight on one's reputation," mused the young man.
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"But this horse always won every other race. And unlike our
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first horse, when this Macedonian horse ran and knew he had beaten
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the other horses, instead of letting up he redoubled his efforts and
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ran even harder--as hard as he could--for he now ran not against the
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fortuitous competitors with whom he began the race, but against his
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own heart: against all horses past and all horses future, against
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every horse in Macedonia and every one in Arabia, and also against
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the ideal horse with a pace so frighteningly fast that few can
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conceive its possibility. And even more than this, he ran toward
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the perfection of excellence itself. And when he crossed the
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finish line, as happy as he was to win, he secretly lamented that
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his opponents had not been fast enough to threaten him and push
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him onward."
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"Even though he lost once," the lad remarked after a short
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silence, "perhaps this horse was as good as the Arabian."
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"Perhaps so, my child," said the man, with a smile. "Perhaps so."
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It's Nut Valuable
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Once upon a time a wise and thoughtful craftsman made a new
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electric adding machine. It was very complex with many gears and
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levers and wheels, and it did amazing things, always adding up the
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numbers correctly. So the craftsman sold it to a businessman for
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many thousands of dollars. All the parts inside the new adding
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machine felt good about being so valuable. They worked hard and
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happily all day, and often talked about how useful they were to
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the businessman.
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But one day a spring noticed a little nut just sitting on
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the end of a shaft. The spring pulled at the lever he was
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attached to and pointed. Soon the whole works knew. "You lazy
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little nut," said a spinning gear, "why don't you get to work?"
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"But I am working," said the nut. "Holding on is my job."
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"That's stupid," yelled a cam. "I don't believe our maker put
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you here. You just sneaked in to steal some of our glory. Why don't
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you get out?"
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"Well," said the nut, "I'm sure our maker knew what he was
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doing, and that I do serve a purpose. I hold on as tightly as I
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can." But all the machinery began to squeal and abuse the nut so
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violently that he felt very sad and began to doubt himself.
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"Maybe I am useless," he thought. He appealed to the shaft he was
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threaded onto.
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"Look, kid," the shaft told him, "I've got plenty of other
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parts holding on to me. I shouldn't have to support you, too."
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So finally the little nut decided to unscrew himself and go
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away. He dropped off the shaft and fell through a hole in the
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bottom of the machine. "Good riddance," said the motor.
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"Yeah, good riddance," all the other parts agreed.
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Rather quickly the nut was forgotten and things went on as they
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had for awhile. But in a few hours, the shaft began to feel funny.
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At first he began to vibrate. Then he started sliding and slipping.
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He called for help to the other parts attached to him, but they
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could do nothing. Presently the shaft fell completely out of his
|
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mounting hole, causing many levers and gears and cams to slip out
|
|
of alignment and crash against each other, and forcing the whole
|
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machine to grind to a halt with an awful noise. The motor tried
|
|
his best to keep things going--he tried so hard that he bent many
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of the parts--and then as he tried even harder, he burned himself
|
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out. "This is all the fault of that little nut," the ruined parts
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all agreed.
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"I'll give ya three bucks for it," said the junk man to the
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office manager.
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Stewardship
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|
A wise man approached three young men standing around idly.
|
|
"Here is a coin worth a hundred dollars," the wise man said to the
|
|
first youth. "What should I do with it?"
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"Give it to me," he said at once.
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"Rather than reward such selfishness and greed," responded the
|
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wise man, "it would be better to throw the money into the sea." And
|
|
with this, the wise man threw the coin into the water. "Now," he
|
|
said to the second youth, "here is another coin. What should I do
|
|
with it?"
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The second youth, feeling shrewd, answered, "Throw it into the sea."
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But the wise man said, "That would be a careless waste. To
|
|
follow a bad example only because it is an example is folly. Better
|
|
than throwing this money away would be to give it to the poor." And
|
|
he gave the money to a beggar sitting nearby. "I have one last
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coin," the wise man went on, talking to the third youth. "What
|
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shall I do with it?"
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The third youth had been paying attention, and, thinking he
|
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would get the money if he avoided the greed and wastefulness implied
|
|
in the answers of his friends, said, "Why, give it to the poor."
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"That is a very wise and kind answer," said the wise man,
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smiling. And because you have answered so well" (at this the youth
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brightened with expectation), "I will indeed take your good advice
|
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and give the money to the poor."
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"Don't I get anything for my wisdom?" demanded the youth.
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"You have already received something much better than money,"
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said the wise man.
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The Man Who Believed in Miracles
|
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|
Once upon a time a traveler arrived in a land quite like our
|
|
own, full of modern technology like cars and computers and whistling
|
|
teapots, but with these two differences: there were no television
|
|
sets and no airplanes. In fact, nothing at all had ever been seen
|
|
in the sky, not even a bird, and the only movies the people ever saw
|
|
were in the theaters.
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|
The traveler stayed for about a month on the eastern shore where
|
|
he had arrived, and then decided to visit the western cities. He
|
|
mentioned his decision one evening at a meeting of the principal
|
|
scientists and educators of the region, who had gathered to hear of
|
|
his travels. Someone mentioned that the west had much to offer, but
|
|
that the journey between the two areas was unpleasant, consisting of
|
|
crossing a hot, empty desert. "In that case," said the traveler,
|
|
"I'll just fly."
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"Is that like sleep?" one of the scientists asked.
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"No, no," the traveler replied. "You know, fly through the air,
|
|
like a bird."
|
|
|
|
"And what is a bird?" someone asked. And so the traveler began
|
|
to explain about flight and what an airplane was and how it flew from
|
|
one place to another. The room became very quiet, and the
|
|
expressions on the faces of everyone present darkened.
|
|
|
|
"Does he expect us to believe this?" one man whispered to another.
|
|
|
|
"Well, you know what liars travelers are," someone else added.
|
|
Finally the host spoke up, slightly embarrassed and slightly indignant.
|
|
|
|
"If this is your idea of a joke," he began, but was interrupted
|
|
by the surprised traveler.
|
|
|
|
"Why, it's no joke at all. People fly all the time."
|
|
|
|
"I am sorry that you so much underestimate the intelligence and
|
|
learning of your audience," said a professor across the table. "That
|
|
a person could enter some metal device--like a car with fins--and
|
|
rise into the air, and be sustained there, and move forward, why that
|
|
clearly violates everything we know about the law of gravity and the
|
|
laws of physics. If we have learned anything from a thousand years
|
|
of study of the natural world, it is that an object heavier than air
|
|
must return immediately to earth when it is tossed into the sky."
|
|
|
|
"Hear, hear," two or three people muttered.
|
|
|
|
"Now, if you perhaps mean that these 'airplanes,' as you call
|
|
them, are somehow flung into the air for a short distance and then
|
|
fall to the ground, well, then perhaps that would be possible." The
|
|
professor looked expectantly and a bit condescendingly at the
|
|
traveler, hoping that the man would take this face-saving opportunity.
|
|
|
|
"No, no. You don't understand," said the traveler. "The
|
|
airplanes have powerful motors and the craft rise into the air, and
|
|
they stay up as long as they want, as long as the fuel holds out."
|
|
There were several audible "hmmphs" around the room.
|
|
|
|
"Tell us then," said another scholar, in a saccharine voice,
|
|
"how this device works. What makes it fly?"
|
|
|
|
"Well, I don't know exactly how it works. It has something to
|
|
do with air flowing over the wings."
|
|
|
|
"You don't know--you cannot explain--how it works, this device
|
|
that runs counter to everything we know about the natural world, yet
|
|
you believe in it anyway."
|
|
|
|
"Believe in it?" asked the traveler, a bit confused by this
|
|
turn of phrase. "Of course I 'believe in it.' I fly on one all the
|
|
time at home."
|
|
|
|
"And how do you control its motions?" a man asked, without
|
|
removing his pipe. The audience was clearly beginning to patronize
|
|
the traveler, and he was growing a little irritated.
|
|
|
|
"Oh, I don't control it. There's a pilot for that."
|
|
|
|
"I see," the pipe smoker said. "So this airplane contains both
|
|
you and the pilot. You're telling us that perhaps four or five
|
|
hundred pounds of dead weight can travel through the air as long
|
|
as it wants."
|
|
|
|
"As long as the fuel holds out," added one of the hmmphers,
|
|
with amusement.
|
|
|
|
"And all the time sneering at the law of gravity and laughing
|
|
science in the face," someone else noted.
|
|
|
|
"Well, actually, the planes are much larger than that," said
|
|
the traveler. "Many of them hold two or three hundred people and
|
|
weigh, my, I don't know--many thousands of pounds."
|
|
|
|
"I think we have heard enough," the now-fully-embarrassed
|
|
and half-angered host said. "It was amusing for awhile, but it's
|
|
time to put an end to this nonsense."
|
|
|
|
"It is not nonsense," the traveler protested. "It is the truth."
|
|
|
|
"Then you really believe this madman's drivel you've been
|
|
feeding us?" the host asked, rather hotly.
|
|
|
|
"Of course. How can I not believe it? I see it and live it
|
|
every day. And here," he added, remembering something, "I even
|
|
have a photograph."
|
|
|
|
"Obviously faked," said the host, dismissing it after a glance.
|
|
|
|
"Who invited this charlatan?" someone asked of no one in particular.
|
|
|
|
"I thought science had put an end to all this miraculous event
|
|
stuff long ago," said another man, rising from his chair and
|
|
preparing to leave.
|
|
|
|
"Well, let's not pursue this pointless discussion," the
|
|
host said. "Our guest apparently knows nothing of science, and
|
|
is impervious to logic and to the considered opinion of the best
|
|
minds of our nation. There's nothing left to do but adjourn."
|
|
The meeting began to break up, and the traveler was putting on
|
|
his coat when the man with the pipe made one last attempt to
|
|
reason with him.
|
|
|
|
"We are all scientists here, all educated men. All of us
|
|
agree that it is impossible for a heavier-than-air device to
|
|
fly on its own through the air. Don't you see that? This is
|
|
against the laws of nature--it violates the law of gravity."
|
|
|
|
"Well," said the traveler, "perhaps there is another law,
|
|
or perhaps there is a higher law than the law of gravity,
|
|
which, when it is understood, will explain how planes can fly."
|
|
|
|
"That's just what I'd expect a religious fanatic to say,"
|
|
said a man who had been listening in. "Science can jump
|
|
into the trash as far as you religious types are concerned."
|
|
|
|
"Not at all," said the traveler. "But your science is not
|
|
perfect. You do not yet know everything about everything, what
|
|
is possible and what is not possible."
|
|
|
|
"Go take your religion to a church and keep it away from
|
|
serious people," the man concluded, stomping out of the room.
|
|
|
|
In the weeks that followed, the traveler was ridiculed
|
|
and denounced in the newspapers, being called everything from a
|
|
con artist to a prospective mental patient. (The scientific
|
|
journals said nothing about the man because they considered the
|
|
whole matter as beneath serious thought.) As a result, the
|
|
traveler was often left to himself, and so he pulled out his
|
|
tiny portable television set and began to watch it. Just by
|
|
chance, some visitors happened to come by and see the little
|
|
box. They were very impressed and urged the traveler to market
|
|
his invention for putting a movie inside such a small space.
|
|
|
|
In a few days, word had spread about this mini-movie and
|
|
several scientists were convinced (after some debate) to come see
|
|
it, together with some engineers representing the movie projector
|
|
manufacturers of the nation.
|
|
|
|
They were sufficiently impressed as they watched a few scenes,
|
|
but when the traveler changed channels, their enthusiasm turned to
|
|
gaping astonishment. The traveler switched all around, showing
|
|
them twenty channels in all. Such was the amazement and even
|
|
incredulity of the engineers that they already began to suspect
|
|
some kind of trick. The scientists looked confused.
|
|
|
|
"You certainly have a lot of films stored in that little
|
|
box," one of the engineers said. "How do you get them all in there?"
|
|
|
|
"The pictures are not in the box," said the traveler. "They
|
|
are all over in the air around us. This antenna brings them in
|
|
and the set makes them visible." The engineers laughed while the
|
|
scientists sneered, the latter now sorry they had allowed themselves
|
|
to be talked into coming to hear this notorious nut.
|
|
|
|
"Come now," one of the scientists said. "Do you expect us
|
|
to believe that there are pictures floating around us in the
|
|
air--pictures we cannot see? And that twenty sets of these pictures
|
|
are all present at once, scrambled together, just waiting for that
|
|
little box to take them and sort them out? What do you take us for
|
|
anyway--a bunch of gullible greenhorn fools?"
|
|
|
|
"And besides," continued an engineer, "how do these pictures
|
|
get into the air in the first place? Where do they come from?"
|
|
|
|
"They're sent from a satellite in the sky," the traveler
|
|
said, as all heads looked up. "You can't see it, of course.
|
|
It's too high. But it's there."
|
|
|
|
"And of course you expect us to believe in something we can't
|
|
see," said one of the scientists, with a touch of scorn.
|
|
|
|
"Believe it because of its effects--the results--the
|
|
evidence of its existence," the traveler said. "If it weren't
|
|
there, you would see no pictures."
|
|
|
|
"We know you're lying," another engineer said. "Even if there
|
|
were a device in the sky, held up by a balloon or whatever, it
|
|
couldn't send a signal down here without a wire. That would be
|
|
against everything we know about electricity. And I don't see
|
|
any wire."
|
|
|
|
"Well, it doesn't use a wire," said the traveler. "The
|
|
signals are sent through the air. And the satellite isn't
|
|
held up by a balloon; it stays up because it's high enough
|
|
so that gravity doesn't pull it down."
|
|
|
|
"Now he's denying the law of gravity again," said one of the
|
|
scientists. "Let's go. I've heard enough. Whatever he does to
|
|
perform his little trick, he isn't telling us about it, so let's
|
|
just leave."
|
|
|
|
"Yeah, let's get out of here," another scientist said. "Every
|
|
time we catch him in an impossibility, he tells us the explanation
|
|
is in the sky." Then turning to the traveler to say goodbye, he
|
|
added, "We cannot believe something when the weight of scientific
|
|
evidence is against it."
|
|
|
|
"But when the physical evidence is clearly before you," said
|
|
the traveler, "how can you not believe, even if your theories cannot
|
|
explain it?"
|
|
|
|
"Because such an event would be a miracle, and science has
|
|
nothing to do with miracles."
|
|
|
|
"Then perhaps science is the poorer for it," said the
|
|
traveler, sitting down to watch his television, which just then
|
|
happened to be showing a dove flying silently across the sky.
|
|
|
|
|
|
|
|
A Fish Story
|
|
|
|
The bright sun and the gentle wind had made the little fish
|
|
almost bold that summer day, enough so that they were swimming all
|
|
over the pond, from their home in the reeds at one end to the rocky
|
|
beach at the other. Or at least they swam very near to the rocky
|
|
beach--as near as they dared--for all the older fish constantly
|
|
warned them to stay away. Some of the dangers were clear enough,
|
|
such as the wading birds who stepped into the shallow water, hoping
|
|
to pluck out a little fish and swallow him right down, and the
|
|
foxes, whose gigantic teeth were too awful even to think about. But
|
|
there were other evils that were not so distinct. Hideous and
|
|
unimaginable these were, with tales of fish swimming into the area
|
|
and never to be heard from again, vague reports of sudden
|
|
disappearances, and some hysterical tales, impossible to make sense
|
|
of, of leaping shadows, wild splashings, worms flying through the
|
|
water, and such like.
|
|
|
|
The dangers of the rocky beach could not quite be isolated in
|
|
the minds of the little fish, so that they felt a general sense of
|
|
impending doom whenever they swam more than a few feet from home.
|
|
That is why, one day when three little fish met each other suddenly
|
|
among the reeds, they were all momentarily startled. But soon they
|
|
began talking and relaxed a little. "This is a wonderful pond,"
|
|
said one. "It's so big. But I've never been this far away from
|
|
home before."
|
|
|
|
"Me either," said another. "I just hope we're safe here
|
|
in these reeds."
|
|
|
|
"I do too," agreed the third. "You never know where an enemy
|
|
may come from."
|
|
|
|
"And you can't be too careful," added the first.
|
|
|
|
"By the way," said one, "my name is Swimmy Fish. What's yours?"
|
|
|
|
"Finny Fish," said another.
|
|
|
|
"I'm Chirpy Bird," said the third.
|
|
|
|
Swimmy Fish and Finny Fish gave a start, looked at each other
|
|
with surprise and terror, and then swam off in opposite directions
|
|
as fast as they could. "Wait!" cried Chirpy Bird. "What's wrong?
|
|
Come back!" He looked around anxiously, himself frightened by their
|
|
fright, though he could see no sign of danger anywhere. But their
|
|
fear hung over the area, so he decided to swim toward home, at more
|
|
than his usual speed.
|
|
|
|
He had not gone very far when he saw several adult fish swimming
|
|
toward him with serious and half-frightened expressions on their faces.
|
|
When they saw him, they stopped at a distance. "Stop there," one of
|
|
them demanded, so Chirpy Bird stopped. The big fish seemed to be
|
|
engaged in a solemn discussion. Every once in awhile one of them
|
|
waved a fin or glanced in his direction. Finally, two of the largest
|
|
fish approached a little nearer. "Don't make any sudden moves," the
|
|
largest one, whose name was Glubber Fish, said with a mixture of
|
|
command and pleading.
|
|
|
|
"I don't understand," the little fish said, bewildered.
|
|
|
|
"Are you Chirpy Bird?" asked Glubber Fish.
|
|
|
|
"Yes. I--"
|
|
|
|
"You must leave the pond." It was a tone of finality.
|
|
|
|
"But why?" asked Chirpy Bird.
|
|
|
|
"Because you'll soon be eating us and our children. Besides,
|
|
birds don't live under water."
|
|
|
|
"But I'm not a bird," Chirpy Bird protested.
|
|
|
|
"What's your name?" demanded the other, who was called Spotted Fish.
|
|
|
|
"Chirpy Bird. But--"
|
|
|
|
"There you are," he said, with a tone of satisfaction.
|
|
|
|
"My name is Chirpy Bird," said the little one, "but I'm a fish."
|
|
|
|
"Nonsense," grumped Spotted Fish. "Whoever heard of a fish
|
|
named Chirpy Bird?"
|
|
|
|
"Whether you've heard of me or not, here I am," said Chirpy
|
|
Bird, not knowing what else to say.
|
|
|
|
"Totally illogical," interrupted Whisker Fish, who had just come near.
|
|
|
|
"As well as disrespectful and impudent," added Glubber fish.
|
|
|
|
"You must listen to reason," said Whisker Fish, self-importantly
|
|
brushing himself in preparation. "And here it is: You are Chirpy
|
|
Bird; granted. Birds eat fish; granted. Therefore, you eat fish."
|
|
|
|
"But--" Chirpy Bird tried to explain.
|
|
|
|
"There is no 'but.' It's a syllogism, and cannot be answered.
|
|
The conclusion follows necessarily," said Whisker Fish. "It's
|
|
pure logic."
|
|
|
|
"And it also follows," said Glubber fish, "that you must leave
|
|
the pond."
|
|
|
|
"I'll die if I leave the pond," said Chirpy Bird.
|
|
|
|
"That's not our problem," said Glubber Fish.
|
|
|
|
"And it's an irrelevant objection," added Whisker Fish. The
|
|
rest of the adult fish had gradually been easing forward during
|
|
this conversation and now, at the direction of Glubber Fish, the
|
|
whole group escorted Chirpy Bird down toward the rocky beach. In
|
|
a few minutes they reached a low spot near a weeping willow,
|
|
where several of the large fish grabbed Chirpy Bird and threw him
|
|
onto the shore.
|
|
|
|
"Now fly away and leave us alone," one of them said. And leave
|
|
them alone he did.
|
|
|
|
|
|
|
|
Man
|
|
|
|
Somewhere in a deep, tropical jungle lived a tribe of natives with
|
|
extremely odd behavior. Generations ago the tribe had in some
|
|
obscure fashion contracted a parasite which induced a seemingly
|
|
permanent delirium in each native, and which was passed on to
|
|
subsequent generations. The delirium increased with age, and most
|
|
of the adult natives showed it by eating dirt, sleeping on dunghills,
|
|
pummeling anthills with rocks even as the ants bit them severely, and
|
|
jumping out of trees onto their heads. This last maneuver caused the
|
|
natives to stagger around senseless for days, or simply to lie
|
|
unconscious and bleeding in the sun and rain. All these symptoms
|
|
together prevented the natives from caring for their personal lives,
|
|
and so they lived in deplorable squalor, with their huts falling
|
|
apart, and their children and themselves half starved and wholly naked.
|
|
|
|
Another odd effect of the mental distraction was an unnatural craving
|
|
for firewood. Unlike the other natives in the area, the members of
|
|
this tribe collected--and stole, and cheated and betrayed for--log upon
|
|
stick to pile next to their huts, even though in twenty very cold years
|
|
they couldn't use half as much as they already possessed. A few
|
|
natives had been crushed to death by collapsing woodpiles; many more
|
|
had died from fighting over decidedly unimpressive old branches.
|
|
|
|
One day a doctor came from the East to the village, and he immediately
|
|
recognized the symptoms of the disease (a common one) for which he
|
|
carried the cure. He went gladly and confidently to the chief of the
|
|
tribe and announced his ability to remedy the ills of the people,
|
|
expecting to be praised and welcomed for his offer of help. To his
|
|
surprise, however, the chief rebuffed him with contempt and asserted
|
|
boldly that there was nothing at all wrong with his people, that they
|
|
had always acted that way since he could remember, that it was the
|
|
human condition, and that they were all perfectly happy. Then,
|
|
after ordering the doctor to leave immediately, the chief jumped
|
|
out of a tree into the tribal latrine and was unavailable for any
|
|
further discussion.
|
|
|
|
Substantially taken aback but firm in his resolution, the doctor
|
|
decided to take his offer directly to the natives. Most received
|
|
him with laughter, contempt, or violence; many ignored him; a few
|
|
beat him up; some said he just wanted to get at their firewood;
|
|
most said they, like the chief, felt fine. But a dozen or so
|
|
natives came to him privately where he had been tossed into the
|
|
bushes after his most recent beating, and asked him for the medicine.
|
|
|
|
"We are somehow not really happy living like this," they said, "even
|
|
though it is the way of the world." The doctor gladly gave them the
|
|
medicine, and in a few days they began to show remarkable signs of
|
|
recovery. No longer desiring to eat dirt or jump out of trees, these
|
|
natives corrected their diet, improved in health, and began to apply
|
|
themselves to such activities as making baskets, repairing their huts,
|
|
caring for their children, and gathering food. Some even began to
|
|
question the wisdom of collecting stacks of wood more than twenty
|
|
feet high.
|
|
|
|
Such wild, unusual, and anti-social behavior did not go unnoticed by
|
|
the other natives, who quickly ostracized the cured natives from the
|
|
tribal camp, calling them enemies of the current system. And even
|
|
though many of the delirious natives began to suspect that the cured
|
|
natives were somehow better off than they, and that there might be
|
|
more to living than sleeping on dunghills and finding new trees to
|
|
jump out of, resistance to the cure was strong. First, almost all
|
|
the educated and respectable people--the chief and his council--spoke
|
|
against it, and the example of their sophistication and wealth (the
|
|
chief's woodpile was ninety feet high) was very strong. Many others,
|
|
from the gossips to the wise man, said that the old way was right,
|
|
and that the tribe had always behaved that way. There were few real
|
|
individuals in the tribe, so that even though scores would have been
|
|
glad to try the cure, they were afraid to stand against the rest and
|
|
did what everyone else was doing, which was nothing.
|
|
|
|
The witch doctor had a stronger argument against the new regimen. He
|
|
pointed out that the cure was harder to take than the cures he
|
|
dispensed. The Eastern doctor's cure was painful, and though many of
|
|
the witch doctor's cures caused vomiting, hives, convulsions, and
|
|
hallucinations, the natives were all familiar with these effects and
|
|
attributed them to swallowing the medicine wrong, rather than to the
|
|
medicine itself. But who knew what the fate of the cured natives
|
|
would eventually be?
|
|
|
|
The cured natives said they felt fine, but they might have been lying.
|
|
And who was fool enough to trust an outsider, a stranger, rather than
|
|
the familiar witch doctor, who cursed those who took the cure because
|
|
they rejected his medicines as false and pernicious? The cured natives
|
|
said that a commitment must be made to trust the Eastern doctor; this
|
|
was too difficult or uncertain a step for many, especially in the face
|
|
of the social pressure around them. A decision accompanied by fear,
|
|
decried by the important, and rejected by society could not be made
|
|
by everyone.
|
|
|
|
After the time of his stay was over, the Eastern doctor showed the
|
|
cured natives how to compound the medicine and then left. As
|
|
generations passed, most of the natives remained loyal to the
|
|
dunghill, but a few took the cure.
|
|
|
|
|
|
|
|
Love
|
|
|
|
Otto and his girlfriend Brissa were driving merrily down the middle
|
|
of the road one rainy night on their way to a party when they
|
|
approached a little old lady trying vainly to change a flat tire.
|
|
|
|
"Gee, that's too bad," said Brissa.
|
|
|
|
"Yeah," agreed Otto.
|
|
|
|
"Maybe we should help her," added Brissa.
|
|
|
|
"We? You mean me. I'm not going to get wet. Besides, what good
|
|
would it do me to help her? I don't even know who she is, and she
|
|
probably doesn't have any money, or at least not enough to make
|
|
getting wet worthwhile."
|
|
|
|
"But it would make you feel good to do a good deed," Brissa offered.
|
|
|
|
"Well, it makes me feel good to stay in here and keep dry,"
|
|
snapped Otto.
|
|
|
|
"It would make me happy, Otto," said Brissa, in her softest, most
|
|
feminine voice.
|
|
|
|
"You? Boy, you're awfully selfish. Always thinking about yourself.
|
|
You know, I wasn't put here just to cater to your stupid, idle
|
|
whims." As his anger rose, Otto sped up a little, just in time to
|
|
hit a large puddle near the little old lady, drenching her in a sheet
|
|
of muddy water.
|
|
|
|
"Stop, Otto!" Brissa cried, exasperated. "I'll help her."
|
|
|
|
"Aw shut up," Otto snarled. "Do you think I'm going to walk into the
|
|
party with a girl who's all wet and disheveled, looking like a
|
|
drowned rat? You want people to laugh at me? Think of somebody
|
|
besides yourself for a change. Now fix your makeup and keep your
|
|
mouth shut."
|
|
|
|
|
|
|
|
Indecision
|
|
|
|
Once upon a time a dozen or so curious travelers rented a boat for a
|
|
cruise out to an enchanted island, where, it was said, Athena sat on
|
|
her throne dispensing rich gifts to all. The trip was smooth enough
|
|
for awhile, with only a few rough seas to endure and an occasional
|
|
shoal to avoid. But then one morning one of the passengers discovered
|
|
that the boat was taking on water.
|
|
|
|
"We're sinking, we're sinking!" some of the people cried.
|
|
|
|
"No," said the captain, "the flow is not yet so fast. If we will get
|
|
some buckets and bail the water out, everything will be all right."
|
|
This solution seemed simple enough.
|
|
|
|
However, a dissension soon arose among the travelers about who would
|
|
do the bailing, and what buckets would be used. "Allow me," said
|
|
one. "It is my duty in this circumstance to bail, and I have here a
|
|
very solid bucket suitable to the task."
|
|
|
|
"Beg pardon, sir," said another, "but I must be the bailer. It is
|
|
written in the laws of the sea that a person of my parts must do
|
|
this labor. Besides, I have a superior bucket."
|
|
|
|
"Wait," said a third. "This gentleman's bucket is all right, but I
|
|
think I should be allowed to help bail, since I am a fellow passenger."
|
|
|
|
Everyone adduced many weighty, true, and worthy philosophical
|
|
arguments for his position, and cited laws, ethics, and political
|
|
and procedural rules, but no person succeeded in convincing any
|
|
other. Soon, therefore, the discussion ceased to remain at this
|
|
level, but grew rather heated, and shouts and aspersions began to
|
|
fill the air, with perhaps even a trace of ill will.
|
|
|
|
"I refuse to allow anyone to bail this boat unless he uses this
|
|
bucket, which, as any fool can see, is the only true bucket, clearly
|
|
superior to all others," screamed one.
|
|
|
|
"And I absolutely refuse to see this boat bailed unless I can take part
|
|
in the work," yelled another.
|
|
|
|
Now these passengers all had some interest in seeing the boat bailed,
|
|
and most hoped that this impasse could be overcome to the
|
|
satisfaction of everyone. But since no one knew exactly what to
|
|
do, nothing was done.
|
|
|
|
"Perhaps we will get to the enchanted island without bailing the
|
|
boat," hoped one.
|
|
|
|
It was not to be so. While the travelers continued to debate, some
|
|
suggesting unworkable alternatives and the others remaining
|
|
unyielding, the boat continued to fill, until at one sudden and
|
|
horrifying moment, the water rushed in over the gunwales and across
|
|
the deck. The hold filled rapidly, and in spite of every man's
|
|
frenzied efforts, the boat sank, carrying the stubborn but now
|
|
too-late-repentant travelers, together with their screaming wives
|
|
and virgin daughters, to the very bottom of the sea.
|
|
|
|
|
|
|
|
The Limit
|
|
|
|
One day a man was walking through a forest and got lost. "Nothing
|
|
could be worse than this," he said. Then it got dark. "Lost in
|
|
the dark. What could be worse?" he asked. Then it got cold.
|
|
"Now nothing could possibly be worse," he said as he shivered and
|
|
stumbled around. But then it began to rain. "How could anything
|
|
be worse than this?" he asked himself. But then the rain turned
|
|
to snow and the wind came up. "This is absolutely the worst
|
|
possible thing that could ever happen," he said. "There's nothing
|
|
left." But then he fell and broke his arm. "Well, that's it," he
|
|
thought. "This is the worst of all." But as he lay in the snow, a
|
|
tree branch broke off and fell on him, breaking both his legs.
|
|
"This is worse than the worst," he thought. "But at least nothing
|
|
else can happen." But then he heard the sound of wolves coming his
|
|
way. The noise was so startling that the man awoke and discovered
|
|
that he had been dreaming. "What a dream I had," he said, shaking
|
|
himself. "Nothing could be worse."
|
|
|
|
|
|
|
|
How Sir Reginald Helped the King
|
|
|
|
Once upon a time in the kingdom of Plebnia, the king was having a
|
|
real problem with his letters to the outlying regions. His messages
|
|
always seemed to arrive too late. No matter how early he mailed them,
|
|
his Christmas cards arrived in July and his Valentines arrived on
|
|
December 24, creating confusion and uncertainty among the people
|
|
and giving the Problem Element an excuse to arouse the Rabble
|
|
against him.
|
|
|
|
After some thought, the king had an idea: he would give ten million
|
|
greedos (their monetary unit) and the hand of his totally gorgeous
|
|
daughter to the person who could make his mail arrive the fastest.
|
|
His loyal subjects immediately rushed to solve the problem, setting
|
|
themselves to this task with an enthusiasm that an objective observer
|
|
might well have described as manic. People ran back and forth, up and
|
|
down, muttering, "Move the mail, shove the mail, fling it, sling it.
|
|
Run. Hurry. Shoot the mail, toss it, heave it," and such like.
|
|
|
|
Included in the many and varied offered solutions were proposals to
|
|
build a rocket sled, crisscross the countryside with pneumatic tubes,
|
|
use fast horses stimulated by strong coffee, borrow a dragster from
|
|
the sports arena, set up a reliable airline, make a jet-powered
|
|
conveyor belt, or just use ordinary mailmen under the threat of
|
|
immediate, violent death if they delayed the mail.
|
|
|
|
However, Sir Reginald, the young, handsome hero of this tale, out of
|
|
the goodness of his heart, his love for the king, and the excitement
|
|
of the challenge (and scarcely considering the money or the girl more
|
|
than four or five hours a day), decided to take a few minutes to
|
|
examine the problem before he tried to solve it.
|
|
|
|
"Just what is it the king wants to do?" he asked himself. "He wants
|
|
to send his mail quickly. And just what is mail? It's a message,
|
|
information. Information, hmm. Information can be sent
|
|
electronically, by wire or transmission. Yes. Hmm. Yes--A
|
|
transmitter on one end and a printer on the other end would permit
|
|
the king's mail to be sent at the speed of light. That should pretty
|
|
much squash Sir Rodney's proposal to use battery-powered frisbees."
|
|
|
|
Well, what can we say? The brilliance of this proposal was so
|
|
obvious that Sir Reginald was declared the winner and the plan was
|
|
immediately instituted. The mail began to arrive on time, the king
|
|
soon became popular again in the outlying regions, and Sir Reginald
|
|
retired to spend the rest of his days in a spiffy castle on top of
|
|
a hill, with his totally gorgeous wife and, later, seventeen children.
|
|
|
|
|
|
|
|
How the Noble Percival Won the Fair Arissa
|
|
|
|
Once upon a time in a kingdom by the sea, two knights stood talking
|
|
about the strategy of battle when their conversation was interrupted
|
|
by the sight of the beautiful Arissa as she walked upon the green.
|
|
"Forsooth, I think I'll ask her for a date," said Sir Wishful, one
|
|
of the knights. "Ditto," said Sir Percival, the other knight.
|
|
|
|
So Sir Wishful sauntered up to Arissa in his most elegant and
|
|
refined manner, and, twirling his mustache genteelly, said, "Arissa,
|
|
my dear, methinks I'd like to take you out to dinner."
|
|
|
|
Arissa sized up Sir Wishful a moment and then replied, "Sorry,
|
|
Wishy, you're not my type."
|
|
|
|
Sir Percival, seeing his rival stumble off in a confused,
|
|
embarrassed, humiliated, dazed--oh you get the idea. Anyway,
|
|
Sir Percival saw his opportunity and approached Arissa. "Arissa,"
|
|
he said, "how about a date anon?" Only a moment was needed for
|
|
the look of mild surprise to alter the beautiful maiden's features,
|
|
after which she laughed loudly in Sir Percival's face for a good
|
|
ten minutes.
|
|
|
|
Well, both Sir Wishful and Sir Percival retired to lick their wounds
|
|
and lament the fate of men in this whole romantic con game, and Sir
|
|
Wishful soon enough decided that he liked the taste of trout just
|
|
about as well as the taste of women's lips, so he grabbed his bait
|
|
and tackle and headed for the river. Sir Percival, on the other hand,
|
|
really thought Arissa might be worth another attempt, and he
|
|
rationalized with himself that perhaps she didn't quite understand
|
|
the question. "Or belikes the maiden is just shy," he thought.
|
|
|
|
So Sir Percival, seeing on another day the fair, delicate Arissa
|
|
using her footman's coat to clean the mud off her shoes, again
|
|
approached and asked: "Arissa, sweet one, won't you go out with
|
|
me sometime?"
|
|
|
|
Arissa generously gave Sir Percival a look that could have frozen
|
|
several pounds of choice lobster, and replied, "You must be kidding."
|
|
|
|
Sir Percival thought about this answer for a couple of days, and
|
|
still finding his inclination toward the gentle Arissa unchanged,
|
|
he thought to make a clarificatory attempt, just in case the maiden
|
|
did believe he had been kidding. Approaching her the next morning,
|
|
Sir Percival said, "Kind Arissa, I wasn't kidding the other day.
|
|
Ifay, I'd like to date you." Only the author's extreme commitment
|
|
to complete truth forces him to admit that a tiny trace of irritation
|
|
now flashed, but only for the briefest of moments, across the lovely
|
|
Arissa's brow. "Get lost, creep," she said, clearly and distinctly.
|
|
|
|
Well, needless to say, by now most of the other knights in the realm
|
|
were getting sufficient jollies out of Sir Percival's romantic
|
|
endeavors. Even Sir Wishful had joined in the laughter, ridicule,
|
|
and derision that seasoned Sir Percival's every meal with his friends.
|
|
This hilarity touched the young knight and caused him to spend several
|
|
days in contemplation of his past behavior. "Am I gaining or losing
|
|
ground with Arissa?" he asked himself. "Rather had she said, 'Get
|
|
lost' before she said, 'You must be kidding,' for as it stands, I
|
|
can't say I'm making much progress."
|
|
|
|
But "Steadfast" was probably Sir Percival's middle name (or his
|
|
uncle's middle name, anyway), so the knight decided to approach
|
|
Arissa yet again. After all, Arissa seemed to be pretty okay,
|
|
and Sir Percival wanted a date. In a few days, then, Arissa
|
|
heard a familiar question in a familiar voice: "Arissa, sweetheart,
|
|
let me ensconce you in my carriage and take you on a date." To
|
|
which Arissa replied, "Sorry Perce, I'm busy. I've got to
|
|
wash my hair."
|
|
|
|
To which the knight: "Well, when could you go then?"
|
|
|
|
To which Arissa: "Well, I'll be busy for the next ten years. I
|
|
mean, I've got stuff to do, forsooth."
|
|
|
|
Well, our hero was getting a bit despondent about all this, and for
|
|
sure his friends weren't helping much. Far from their giving him
|
|
encouragement, their laughter rang so constantly in Sir Percival's
|
|
head that he began to wonder if he was still quite sane. And not
|
|
a few of his friends hinted here and there that psychiatric
|
|
consultation might be useful to the knight, to get him over his
|
|
ridiculous interest in the agreeable Arissa.
|
|
|
|
About this time it so happened that as Sir Percival was on his way
|
|
to visit Sir Wishful for a nice dinner of trout and onions, he quite
|
|
unexpectedly came upon Arissa, lovely as ever, sitting near the
|
|
village waterfall and picking her teeth. Almost out of habit, Sir
|
|
Percival spoke: "Arissa, sugar, would you like to go out with
|
|
me sometime?"
|
|
|
|
To which Arissa: "Oh, Perce, didn't I tell you I was busy?"
|
|
|
|
To which Sir Percival: "Yeah, fair one, but I thought maybe you'd
|
|
had a cancellation or something."
|
|
|
|
To which Arissa: "Well, if I did have a cancellation, I wouldn't
|
|
fill it up with you. Besides, what would we do?"
|
|
|
|
To which Sir Percival: "We could go to dinner."
|
|
|
|
To which Arissa: "Like where, ifay?"
|
|
|
|
To which Sir Percival: "Andre's French Victuals."
|
|
|
|
To which Arissa: "And when would this be?"
|
|
|
|
To which Sir Percival: "I dunno. How about tomorrow night?"
|
|
|
|
To which--well, anyway, to her own surprise, to the astonishment of
|
|
Sir Percival, and to the great confusion of the rest of the kingdom,
|
|
Arissa finally actually agreed to this scenario and the next evening
|
|
the two young people went to Andre's.
|
|
|
|
Arissa, of course, ordered the eleven most expensive things on the
|
|
menu, for she was still intending to discourage Sir Percival, but
|
|
the knight was willing to put up with only a glass of water for his
|
|
own dinner, because the success he had enjoyed so far with the
|
|
desirable Arissa had quite taken away his appetite anyway.
|
|
|
|
In the course of the evening, Arissa happened to remark, "I wish
|
|
they had apricots on the menu here. You know, I really love them.
|
|
I could eat them by the ton."
|
|
|
|
To which Sir Percival: "Why, Arissa, my dove, I own an orchard of
|
|
apricot trees."
|
|
|
|
To which Arissa: "Really? Oh, Perce." When she pronounced his name,
|
|
the young maiden sighed and a glisten appeared in one or both eyes.
|
|
|
|
Well, from here the story gets pretty mushy, so we'd better make it
|
|
short. This delightful couple soon held hands; they discovered anon
|
|
that their lips fit together pretty well, Arissa's ten years' worth
|
|
of plans were miraculously cancelled, and Sir Percival finally asked
|
|
the Big Question, to which Arissa replied, "Well, okay."
|
|
|
|
And so they were married and lived happily ever after, with Arissa
|
|
often telling Sir Percival how she had secretly loved him from the
|
|
first time she saw him, while Sir Percival, each time he kissed
|
|
Arissa's apricot-flavored lips, congratulated himself for his skill
|
|
in winning her.
|
|
|
|
|
|
|
|
Truth Carved in Stone
|
|
|
|
A wise old philosopher was walking through the park with a young man
|
|
and his true love when they came upon a beautiful statue of a Nereid.
|
|
"Come here," he said to the youth, "and touch this statue." The young
|
|
man put his hand on the statue's arm and felt of it closely, though
|
|
he did not seem surprised at what he found. "Now the girl," the old
|
|
man continued; so the lover also felt of his girlfriend's arm, in the
|
|
same way. "And now," the man said, "tell me what you have learned."
|
|
|
|
"I'm not sure," the young man began. "The statue is hard and cold;
|
|
the girl is warm and soft. Her flesh yields when I press; the marble
|
|
does not."
|
|
|
|
"You have learned well," concluded the philosopher, "and if each of
|
|
you remembers and lives by these truths, you will have a happy
|
|
life together."
|
|
|
|
|
|
|
|
How Sir Philo Married a Beautiful Princess
|
|
Instead of the Woman He Loved
|
|
|
|
Once upon a time--and it had to be pretty long ago, as you will
|
|
see--there lived a bunch of people in a little inland kingdom. The
|
|
king, Cleon the Modest, was basically a good fellow, though he was
|
|
not known for his brilliance in government. Instead, he was known
|
|
chiefly for his glowing and nubile daughter, Jennifrella, a girl,
|
|
though proud and a trifle petulant, so freighted with beauty and
|
|
charms that pretty much every bachelor--and not a few married
|
|
men--in the kingdom dreamed about her, whether awake or asleep.
|
|
Truly, she maketh my pen tremble even as I write this.
|
|
|
|
Now Cleon was desirous of marrying off this legendary beauty as soon
|
|
as possible so that he could be free of the constant entreaties for
|
|
her hand, free of the frequent bills for supplying her dressing table,
|
|
and free to spend more time in his rose garden, which he truly loved.
|
|
The king would have had little trouble choosing the richest suitor in
|
|
the kingdom for his daughter, except that there were no exceptionally
|
|
wealthy bachelors in the realm, and those of modest wealth all had
|
|
castles and money boxes of essentially similar dimensions.
|
|
|
|
For her part, the Princess Jennifrella was repletely enamored of Sir
|
|
Fassade, a handsome, dashing, suave, carefree young knight who most
|
|
people, when they faced reality, agreed would almost certainly become
|
|
her husband and therefore the next king.
|
|
|
|
King Cleon, however, was desirous of exercising his regal authority
|
|
in having a say in who would follow him on the throne. And faced
|
|
with what he clearly saw was an impossible number of choices, he
|
|
therefore sought the opinion of his favorite advisor, the young Sir
|
|
Philo. Now, persons of a cynical bent might begin to think that Sir
|
|
Philo, an eligible bachelor himself and not at all impervious to
|
|
feminine gorgeousness, would argue craftily that he himself was the
|
|
most suitable and worthy candidate. This might have been so but for
|
|
two equally powerful reasons. First, Sir Philo, brave, skilled, and
|
|
thoughtful, was a man of integrity who would never abuse his position
|
|
as the king's advisor to advance his own interests, even in a matter
|
|
so emotionally and biologically compelling as that before us. The
|
|
other reason is that Sir Philo was already in love with another. It
|
|
was a gentle love, like a deep river, quiet and calm on the surface
|
|
but fully substantial and powerful in its flow.
|
|
|
|
His happiness, the Lady Lucinda, though not of outward visage the
|
|
equal of Jennifrella, was handsome enough for the young knight's
|
|
daydreams. When asked what attracted him to Lucinda, he would answer
|
|
ambiguously or mutter something about the light in her eyes. What
|
|
joy he got sitting with her under a tree in the bright spring, gazing
|
|
upon her and dallying with her fingers or brushing a love-sick gnat
|
|
from her collar. But what really twirled Sir Philo's cuff links was
|
|
Lucinda's wit, her laugh, her playfulness. He relished taking the
|
|
sprightly maid hand in hand on long walks, listening to the music of
|
|
her voice and to the sentiments accompanying the music. How he loved
|
|
to play with her tresses, or when her hair was up, to steal up behind
|
|
her and kiss her unexpectedly on the back of the neck: for she would
|
|
invariably produce a little shriek of surprise and delight and
|
|
embarrassment, and then turning to him, her cheeks glowing
|
|
irresistibly, attempt to glare and call him "monster," only to spoil
|
|
her mock anger by bursting into giggles or even outright laughter.
|
|
She would chide him and call him "rogue," and "impertinent," and he
|
|
would say something like, "I'll put a stop to this abuse," and then
|
|
their lips, who were old friends by now, would once again meet for
|
|
fellowship. Of course, Lucinda would struggle just enough to
|
|
enhance the enjoyment, until laughter or an unexpected visitor broke
|
|
their embrace.
|
|
|
|
Well, enough mush. The point is that an unspoken understanding had
|
|
developed between them so that only a few months after the rest of
|
|
the kingdom knew it, they realized that they would one day wed and
|
|
together laugh and cry through the years until death should wake them.
|
|
|
|
But to return to the weightier problem of King Cleon. Upon being
|
|
asked for his advice, Sir Philo recommended that the king choose from
|
|
among the following options. One, his majesty could choose the wisest
|
|
and most just suitor for Jennifrella, for such a man would not only
|
|
make a good king, but he would most likely be a decent husband, too.
|
|
Or secondly, the king might seek a foreign alliance and marry his
|
|
daughter to another king's son. This was an alternative which Sir
|
|
Philo did not recommend, but mentioned only for the sake of
|
|
completeness. And finally, the last possibility would be to let
|
|
Jennifrella choose for herself--in which case, everyone knew that
|
|
Sir Fassade would be the next king, and he, opined Sir Philo, would
|
|
be "acceptable," producing a government no worse than the current
|
|
one. (Since I have already described the king's advisor as
|
|
"thoughtful," I shall now add "tactful" and note that the final
|
|
participial phrase of the previous sentence was thought but not
|
|
uttered by the knight.) As for the kind of husband Sir Fassade would
|
|
make, the princess would have no one to blame but herself.
|
|
|
|
King Cleon thought the matter over not quite long enough and decided
|
|
to hold an archery contest, the winner of which would marry his
|
|
daughter. The degree of Sir Philo's consternation is not recorded
|
|
in the annals from which I am plagiarizing, but one may suppose that
|
|
it was substantial, for reasons which will hereinafter appear.
|
|
Needless to say (except to make the story longer and extend the
|
|
reader's pleasure), Sir Philo made energetic protests, which
|
|
eventually descended to rather pathetic entreaties, all in a
|
|
futile attempt to change the king's mind. But King Cleon would
|
|
not be dissuaded, and so the news was soon heralded throughout the
|
|
kingdom, and, as you might suppose, arrow sales shot up immediately
|
|
and remarkably.
|
|
|
|
As when a child pounds the ground near an anthill, causing a good
|
|
many of the residents instantly to surface and run around in massed
|
|
panic, so on the day of the contest the world arrived in a swarm at
|
|
the castle of Cleon the Modest and prepared to be a witness, if not
|
|
the victor, in the winning of Jennifrella.
|
|
|
|
There were several dozen contenders in the contest, some quite
|
|
accomplished archers, some more or less dilettantish, and quite a
|
|
few whose skills put the spectators at random hazard. Amid the
|
|
noise and enthusiasm on this day stood a grim and silent Sir Philo,
|
|
deeply troubled about the proceedings for three reasons. First,
|
|
strictly from a philosophical standpoint, a shooting contest was
|
|
a completely irrational method of choosing either a spouse or a
|
|
future king, and irrationality like this always troubled the
|
|
young knight.
|
|
|
|
Second, though Sir Fassade was a very good shot, capable of
|
|
satisfactorily humiliating most of the other contestants, he was no
|
|
match for Sir Bargle. If they used the word then, I would have to
|
|
exaggerate only slightly to say that Sir Bargle was, as they say in
|
|
French, or maybe don't, a jerque. He punctuated nearly every
|
|
sentence with an oath or a belch, constantly leered at the ladies
|
|
in waiting (who knew all too well to keep a safe distance from him),
|
|
and those who attended carefully to his speech noted that the word
|
|
he used more than any other was "me." In a word (or fourteen,
|
|
actually), Sir Bargle was a man unlikely to put his personal
|
|
appetites in second place. The prospect of this knight nuzzling
|
|
the hair or nibbling the earlobes of Jennifrella was in itself
|
|
sufficiently revulsive to Sir Philo; the prospect of his becoming
|
|
king was absolutely unthinkable.
|
|
|
|
The third reason that the king's advisor was grieved about the
|
|
"score ahead and wed" method of selecting the princess' groom was
|
|
that the only person in all the realm who could outshoot Sir Bargle
|
|
was--Sir Philo.
|
|
|
|
Prithee, talk not to me about psychic conflict--nay, psychic trauma,
|
|
for I have seen it here, and it is not gentle. Sir Philo traced and
|
|
retraced many steps around the castle grounds, without thought of
|
|
direction or destination, the movement of his feet and the tension
|
|
on his face reflecting the turmoil in his soul. At length, in his
|
|
anxiety, the brave knight turned to his lady love for succor and
|
|
advice, and she, with a swiftness that surprised him and a nobility
|
|
that made him love her more deeply than ever, told him that of course
|
|
he must put the interest of the kingdom above his personal happiness.
|
|
She then flew into his arms and burst into inconsolable sobbing for
|
|
longer than we have time to look in on.
|
|
|
|
The contest began and proceeded remarkably well, with only the loss
|
|
of a too-curious cow and a few luckless birds at the hands of the
|
|
less accomplished suitors. Sir Fassade shot well that day, achieving
|
|
a personal best. As each arrow hit, closer and closer toward the
|
|
middle of the target, it made the princess clap a little louder and
|
|
leap with joy a little higher. A smirk of self-congratulation soon
|
|
decorated Sir Fassade's handsome face.
|
|
|
|
A loud belch and a louder laugh announced the commencement of Sir
|
|
Bargle's shooting. As predicted by Sir Philo, Sir Bargle was an
|
|
excellent shot. As each arrow landed a good handbreadth closer to
|
|
the center of the target than any of those of Sir Fassade, the smiles
|
|
on the faces of the princess and her favorite knight grew less and
|
|
less until they had been completely replaced by somber looks on the
|
|
knight and what might be described as silent hysteria on the face of
|
|
the princess. The look on Sir Bargle's face at the conclusion of his
|
|
shooting is a little too carnal for me to describe.
|
|
|
|
As he shot his set of arrows, Sir Philo was forced more than once,
|
|
after he had fully drawn his bow, to pause, and to wait until a
|
|
little tremble--attributed by the crowd to nervousness and eagerness
|
|
to win Jennifrella--left his hands. As each arrow hit the target,
|
|
remarkably near the middle, it also pierced the very center of
|
|
Lucinda's heart. The young knight thought more than once about
|
|
letting an arrow fly wide of the target, but he did his duty,
|
|
though it brought grief to himself and devastation to the woman
|
|
he treasured.
|
|
|
|
Sir Philo's smile as he took the hand of the princess was obviously
|
|
forced, but no one noticed because Jennifrella was now bawling so
|
|
spectacularly that the crowd, though not at all wishing to be unkind,
|
|
found it, frankly, entertaining.
|
|
|
|
As it does for us all, time passed and life went on.
|
|
|
|
After a peculiar three years' delay, Lucinda finally made her choice
|
|
from among several good offers and moved with her new husband to a
|
|
remote part of the kingdom where it was reported that she was content,
|
|
though some said that the cooler climate had somewhat subdued her
|
|
well-known effervescence.
|
|
|
|
In the fullness of time, Sir Philo exchanged his sword for a crown
|
|
and ascended the throne. He ruled wisely and justly, and the kingdom
|
|
prospered. Hero that he was, he had mostly adjusted to the princess'
|
|
personality, reminding himself as occasion required (and occasion did
|
|
require), that not only had he acted for the good of the kingdom, but
|
|
he had wed great beauty and, eventually, personal power. He further
|
|
reminded himself that Jennifrella had made an adequate wife, even
|
|
after her face wrinkled and her tummy pudged, and that she had proved
|
|
to be a reasonable mother to his children. Whenever, in a moment of
|
|
inattention, he discovered himself pining to enjoy a witty remark or
|
|
some unguarded laughter, he quoted, hoping that it was true, the old
|
|
proverb that "we grow most not when something is given but when
|
|
something is taken away."
|
|
|
|
All in all, it was a reasonable life with much to be thankful for.
|
|
Jennifrella's joy was that Sir Philo, now King Philo, remained a
|
|
generous and loving husband even as her beauty faded; her only
|
|
regret was that Sir Fassade had married her younger and more amiable
|
|
sister, and both of them appeared to be altogether too happy.
|
|
Lucinda's joy was in her two lovely children, whom she took, once or
|
|
twice, to see the new king as he made a royal progress through their
|
|
village. Her only regret was that she could reveal only half her
|
|
heart as she told them what a good man he was. Sir Philo's joy was
|
|
that he had acted virtuously and now enjoyed a mostly pleasant life,
|
|
dispensing justice and mercy with care and humanity. His only regret
|
|
was that he had learned to shoot arrows.
|
|
|
|
|
|
|
|
Serendipity
|
|
|
|
A young man, in the confusion and embarrassment of youth, was walking
|
|
across the campus of a great university on the way to his philosophy
|
|
class. At the previous meeting, the professor had posed the
|
|
question, "If we do not know the purpose of something, how can we
|
|
know whether any aspect of it is good or bad?" This question,
|
|
together with the problem for the day, "Does man have a purpose?" had
|
|
taken complete occupation of the young man's mind, not because of any
|
|
intrinsic interest, but because the professor was in the habit of
|
|
calling on students and expecting a thoughtful response. So deeply
|
|
meditative was the young man that he neglected to observe his path
|
|
adequately, with the result that he soon bounced his head off an
|
|
unhappily placed tree in the middle of the lawn.
|
|
|
|
Picking himself up and dusting himself off, the young man looked
|
|
around to see if anyone had witnessed his inadvertent folly. The
|
|
only people nearby were two men, who, although they were just a dozen
|
|
feet away, were completely oblivious to the young man's accident, for
|
|
the reason that they were engaged in a somewhat heated argument.
|
|
Whether to obtain some sympathy for his bruised head, or to excuse his
|
|
inattention, or perhaps simply because they were standing near a wheel
|
|
barrow and looked for all the world like gardeners, the young man
|
|
interrupted them with the slightly exasperated question, "Excuse me,
|
|
but what is that tree doing there, anyway?"
|
|
|
|
Now it so happens that these two men were not gardeners at all. They
|
|
were, in fact, tenured professors of philosophy, the very subject the
|
|
young man was struggling to understand. They turned to him at once
|
|
and condescended to admit him to their conversation.
|
|
|
|
"Well," said the first philosopher, pushing his glasses up the bridge
|
|
of his nose, "see here. This is a tree." And pointing to the tree
|
|
the young man was already too-intimately familiar with, concluded with
|
|
apparent satisfaction, "As Circumplexius has said in the fourth book
|
|
of his De Scientia, 'An example is the best definition.'"
|
|
|
|
"I know that is a tree," replied the youth, rubbing his forehead.
|
|
"What I want to know is, Why is it there in the first place?"
|
|
|
|
"You see," said the other philosopher to the first, "the dance of
|
|
the blind with the senile." Then, momentarily stroking his beard, he
|
|
turned to the young man and continued, "A tree means what it is. The
|
|
concept of treedom does not subsist in some fortuitous, exogenous
|
|
hyle--that is the doctrine of carpenters, not of philosophers. As
|
|
Herman of Rimboa has aptly remarked, 'Inner eyes must perceive beyond
|
|
what the outer eyes see.'"
|
|
|
|
"And as the Chinese say, 'The flies buzz in the wind, but men drink
|
|
their tea,'" added the one with glasses. "Here, son," he went on,
|
|
pointing again, "this is also a tree. Compare them and deduce
|
|
treehood by subtracting the anomalous from the universal."
|
|
|
|
"Certainly you have read Dohesius On the Nature of the Universe in
|
|
the last twenty-five years," the other philosopher said with some
|
|
indignation. "Don't you recall his dictum that 'a second example is
|
|
not an explanation'? How do you pretend to instruct the ignorance of
|
|
youth when you have never instructed yourself? 'The canvas remains
|
|
blank when the artist has no paint,' says Hugo de Brassus. Go back
|
|
to your books."
|
|
|
|
"And as de Roquefort says, 'To sit on a cheese and eat whey is the
|
|
destiny of fools.'"
|
|
|
|
"See here, young man," said the beard, ignoring his colleague,
|
|
"treeness is a life process displaying the aspiration of matter
|
|
toward hierarchy, order, and structure. It finds analogues and
|
|
even homologues in life systems everywhere."
|
|
|
|
"The frogs croak at night, but the sky remains dark," said the
|
|
glasses, smirking slightly.
|
|
|
|
"Nonsense," replied the beard. "What I have said is self-evident.
|
|
Sir Humphrey Boodle even noted it."
|
|
|
|
"But Boodle has been refuted these three hundred years."
|
|
|
|
"Well, Calesimon said so, too."
|
|
|
|
"Hah!" cried the glasses with a laugh of forced incredulity.
|
|
"Calesimon! Calesimon was an idiot!"
|
|
|
|
"Argumentum ad hominem."
|
|
|
|
"Oh, come on. The man was institutionalized."
|
|
|
|
"And genetic fallacy, too. My, my."
|
|
|
|
"Ignore him, son," said the glasses to the youth. "He's not been
|
|
very well since his wife laughed at his last paper. A tree--"
|
|
|
|
"She did not laugh," interrupted the beard.
|
|
|
|
"--is a woody plant containing specialized structures, larger overall
|
|
than a bush and often, as you see here [pointing] having only one
|
|
trunk rather than many."
|
|
|
|
"And is this the effect of dotage or of primordial ignorance?"
|
|
|
|
"False dilemma, Mr. Logician."
|
|
|
|
"Surely you were there that day in bonehead English when they
|
|
distinguished between 'definition' and 'explanation.' You are familiar
|
|
with the English language, aren't you? The young man has asked for
|
|
an explanation."
|
|
|
|
"Well, as Frabonarde says, 'The whole is known by its parts.'"
|
|
|
|
"The doctrine of those who pull the wings from fruit flies."
|
|
|
|
"Yes, it would be too straightforward for someone who needs six
|
|
hundred pages to discover that he doesn't know what he is
|
|
talking about."
|
|
|
|
"A classic example of the projectionist error. Not everything you
|
|
don't understand is a problem with the text," said the beard, tapping
|
|
his finger to his temple.
|
|
|
|
"If I may be permitted one last allusion to Oriental wisdom, I would
|
|
note only that the Chinese have said, 'Men hurt their eyes seeking
|
|
a water lily in a rock garden--even in a large rock garden.'"
|
|
|
|
"I thought you knew that the Poems of Chen had been exposed as a
|
|
product of nineteenth-century Europe. Don't make it a habit to go
|
|
around quoting hoaxes. It gives philosophy a bad name."
|
|
|
|
"Excuse me, sirs," the youth interjected, "but I have to go now."
|
|
|
|
"Very well," said the beard. "Only remember, with the knowledge
|
|
you attain, seek to achieve understanding."
|
|
|
|
"Oh, so now we are quoting the Bible!" cried the glasses with
|
|
triumphant scorn. "The rest of the department will be interested
|
|
in this."
|
|
|
|
"I was not quoting the Bible. I have never even read the Bible."
|
|
|
|
"Why don't you ask God to bless him while you're at it?"
|
|
|
|
"Listen, don't you think I know that your doctrine of cosmic mental
|
|
states is just a front and that you're a closet monotheist?"
|
|
|
|
"And may I remind you that slander is an offense punishable by law?"
|
|
|
|
"And is this the state of a wise man?" asked the beard, looking at
|
|
the sky, "to threaten his friend for speaking truth?"
|
|
|
|
"Now he's even praying! I can't believe this!"
|
|
|
|
"'We cannot see around corners,' says Germulphius, 'so what is left
|
|
to the man who refuses to see in a straight line?'"
|
|
|
|
"Someone like your wife," answered the glasses. "No doubt by now
|
|
she's found twelve more insupportably ridiculous assertions in your
|
|
paper on aperceptual phenomenalism."
|
|
|
|
"Well, at least my wife reads my papers. At least my wife can read."
|
|
|
|
"My wife is an avid reader of literature."
|
|
|
|
"Since when did the television listings become 'literature'? That's
|
|
the most transparent semantic ploy I have ever heard."
|
|
|
|
"Are you accusing me of owning a television?"
|
|
|
|
"He who can see the maggots need not ask if the dog is dead."
|
|
|
|
"'Ignore the shadow cast by a passing vapor,' says Phonetes."
|
|
|
|
"You've always been sloppy with bibliography, haven't you?" demanded
|
|
the beard. "Phonetes would have been utterly embarrassed to have
|
|
said that."
|
|
|
|
"No matter. Truth needs no ascription."
|
|
|
|
"That statement is obviously the product of extensive reading and
|
|
protracted thought. With a little more effort, no doubt you'll be
|
|
able to announce that the sun shines on a clear day."
|
|
|
|
"I suppose you have never read von Hoch: 'I had always known what he
|
|
said, but I did not live it until I heard it spoken.'"
|
|
|
|
"I reject that statement together with its sordid implications. It
|
|
smacks of the grimy hands of utilitarianism. In a minute you'll be
|
|
insisting that philosophy have practical consequences for berry
|
|
pickers and children. Perhaps you would be happier as some sort of
|
|
mechanic where you could get your hands on things, rather than as one
|
|
who pretends to instruct youth."
|
|
|
|
"You and Sir Peter Poole, who was proud that he couldn't tell a hoe
|
|
from a rake."
|
|
|
|
"Well, what of that? My profession is philosophy, and I look for truth,
|
|
not for mud."
|
|
|
|
"Even the sun cannot be seen through a silver coin."
|
|
|
|
"I have never accepted money for anything I've published," said the
|
|
beard hotly.
|
|
|
|
"'Beware of those who look to the right and walk to the left,' says
|
|
della Corta."
|
|
|
|
"How dare you accuse me--" At this point they were interrupted. A
|
|
young man, deeply preoccupied with thinking about the purpose of
|
|
mankind, had just bounced his head against a tree and--ah, but this
|
|
is where you came in.
|
|
|
|
|
|
|
|
A Tale Revealing the Wisdom
|
|
Of Being a Cork on the River of Life
|
|
|
|
Once upon a time, not very far from a town pretty much like yours,
|
|
an old, nearsighted man was wandering down a country road quite
|
|
pleasantly, musing to himself thusly: "I wonder what I should seek
|
|
today? Some new treasure of the Orient, or a lost clue to the
|
|
secrets of nature? That would be nice, as I spit" (and here, had
|
|
there been but a small brass spittoon by the wayside, a clear ring
|
|
would have sounded across the nearby pastures), "but," continued the
|
|
old man, "this is pretty barren ground hereabouts, so I'd best not
|
|
set my hopes too high. I'll start by looking for a silver dollar."
|
|
|
|
With this thought, the man's eyes brightened and he continued now
|
|
more alertly down the road, staring intently at the ground and
|
|
knocking little pebbles around with his cane. After a little, he
|
|
thought he saw something ahead. Mending his pace somewhat, he
|
|
hurried (as an old man with a cane hurries) up to the object, which
|
|
he now believed to be a quarter. When he stooped down to pick it
|
|
up, however, he found it to be merely a bottle cap, covered with red
|
|
ants eating the remaining sugar. "Just what I was looking for!"
|
|
exclaimed the old man with glee, even though the ants began to sting
|
|
him on the thumb and forefinger. "Bottlecaps can be very useful."
|
|
So he put the new possession into his pocket and once more began his
|
|
stroll, still watching the ground.
|
|
|
|
He had hardly begun to wonder what he might find next, when, there,
|
|
just a little way off, he saw a pearl lying in the roadbed.
|
|
"Surely," he thought, "nothing is round or shiny exactly like a
|
|
pearl, so I could not be mistaken this time." So he began to amble
|
|
over without delay. As he came nearer, his joy increased. "Hee
|
|
hee!" the old man laughed, before stifling his mirth lest he call
|
|
attention to himself and bring competitors for his newfound
|
|
treasure. He even paused a moment and looked around to see if
|
|
anyone had noticed him or the pearl.
|
|
|
|
The way seemed clear so he closed the final distance, reached down,
|
|
and picked it up. Instantly he was aware that this was no pearl,
|
|
but just a partly dried up chicken brain, which must have fallen off
|
|
some farmer's cart, or been left by some animal in haste. "Just
|
|
what I was looking for!" the old man said very joyfully. "Chicken
|
|
brains make real good soup." Into his pocket with the bottle cap
|
|
went the brains, and down the road with his cane went the old man.
|
|
|
|
It was not long after this that he saw another, much larger item in
|
|
the road before him, which looked, from where he now was, just
|
|
exactly like a fat roll of paper money. Blessing his astrological
|
|
reading promising riches for that day, he made his way up to the
|
|
spot with a speed truly remarkable for a person of his age and
|
|
infirmities, and anxiously bent over to retrieve his treasure. A
|
|
closer look, however, and a confirming touch revealed that the man
|
|
had found a "road apple," or, as it is sometimes called, a "horse
|
|
biscuit." "Just what I was looking for," the old man said, now more
|
|
perfectly pleased than ever; "I can use this biscuit to cook my
|
|
chicken soup. Seems dry enough to burn right well."
|
|
|
|
Now the old man, between his nearsightedness and his preoccupation
|
|
with his great discoveries, wandered unknowingly over to the side of
|
|
the road, and pretty soon he stepped off into a ditch and fell down
|
|
with remarkable violence. A farmer not very far off saw this
|
|
episode, and hurried over to help the old man up. As he got to his
|
|
feet, the old man, wincing with pain and holding one arm, cried out
|
|
with a tone of satisfaction, "A broken arm! Just what I was looking
|
|
for! A broken arm can be very useful." The farmer blinked once or
|
|
twice, recognizing that this sentiment did not conform with what his
|
|
own would have been under the like circumstances, but he said
|
|
nothing. Instead, he quite generously helped the old gentleman into
|
|
his cart and took him to town.
|
|
|
|
When the two arrived, the farmer dutifully summoned a doctor and the
|
|
constable and some others of note in the place and repeated how the
|
|
old man had fallen and broken his arm, only to exclaim that such a
|
|
result was apparently what he had intended. This narrative caused
|
|
some strange looks and a little discussion among them, and no one
|
|
could think what to do next (aside from fixing the man's arm), when
|
|
the constable suddenly remembered that he did not know the man's
|
|
name. "Sir," he asked, "have you any identification?"
|
|
|
|
"Why, I think so, sonny," replied the old man, beginning to fumble
|
|
in his various pockets, and then, to the indescribable surprise of
|
|
his audience, to remove what they did not know, and could not have
|
|
imagined, were the souvenirs from his previous wanderings. When his
|
|
pockets were finally emptied, there was still no identification, but
|
|
instead, on the table before them, his interrogators saw the
|
|
following objects, namely, viz., and to wit: the bottle cap, the
|
|
chicken brains, the horse manure, a piece of grimy string, a cigar
|
|
butt, three pieces of chewed and flattened gum, a wing nut with
|
|
stripped threads, a rusty nail (bent in two places), part of a candy
|
|
wrapper, some rat pills (eleven of them), half a marble, and a
|
|
common pebble.
|
|
|
|
After a moment or two of reflective silence, the mayor made bold to
|
|
speak (seeing the constable in a reverie), and asked gently and
|
|
softly, "Where did you get all these, uh, items?"
|
|
|
|
"Why, looking for gold and treasure, sonny," the old man answered,
|
|
in a tone that implied that the mayor should have known the answer
|
|
already. "But," he added as a second thought, and in the face of
|
|
these gentlemen's now rather extravagantly and injudiciously raised
|
|
eyebrows and opened mouths, "they were all just what I was looking
|
|
for--like the broken arm here. Quite a find, eh?"
|
|
|
|
At this point, the farmer, who had been standing generally in the
|
|
background holding his hat in both hands, came forward and begged an
|
|
audience with the constable. "I didn't want to say this before," he
|
|
began in a low tone, "but now I think I must, in case it should be
|
|
important. All the way into town that old fellow kept saying
|
|
something to me about wanting to cook his brains by burning a horse
|
|
biscuit under his cap."
|
|
|
|
That was enough. And, needless to say, the Authorities from the
|
|
Institution in the city were immediately summoned, and the old man
|
|
was taken to a very pleasant place where he could rest among friends
|
|
and nice people, have no worries, and be free to enjoy the
|
|
"butterflies, blue skies, and happiness always." It is reported by
|
|
reliable sources that shortly after arriving the old man was heard
|
|
to exclaim cheerfully, "Just what I was looking for! Mattresses on
|
|
the walls!"
|
|
|
|
|
|
|
|
The Art of Truth
|
|
|
|
Once upon a time a famous art museum searched the world over for the
|
|
best paintings it could find. After a long search, the museum found
|
|
a beautiful Old Master painting depicting youths and maidens
|
|
frolicking in a wood. The directors were only too glad to pay
|
|
millions for this painting because they were captivated by its
|
|
beauty and elegance. How delightfully the maidens' hair and mouths
|
|
were drawn, how perfectly the hands and arms of the youths, how
|
|
life-like the bare feet on the forest floor. But the curator of the
|
|
museum was the happiest one of all, for he had now become guardian
|
|
and protector of a famous work by a famous painter. "Every time I
|
|
look at that painting," he would say, "I see new beauties and
|
|
excellences. Just look at these leaves here, the sweep of the
|
|
branches from this tree, capturing just the hint of a breeze and
|
|
seeming to vibrate with the music from the dance of the youths
|
|
and maidens in the clearing. My very soul resonates with the
|
|
greatness of it all."
|
|
|
|
Needless to say, this wonderful painting was the most popular
|
|
exhibit at the museum, providing instruction and delight for
|
|
thousands of visitors. Everyone, from the young child who could
|
|
barely walk to the old man who could barely walk, enjoyed its beauty
|
|
frankly and openly or profited from studying its color and
|
|
arrangement. Children loved to see the happy figures kicking up
|
|
their feet with joy; the young people marveled at the freshness and
|
|
beauty of the figures; those of mature years stood astonished at the
|
|
excellent technique that could present such a convincing vision; the
|
|
old remarked upon the feeling of cozy intimacy produced by the scene
|
|
of innocent pleasure.
|
|
|
|
"This painting is almost too good to be true," remarked one visitor
|
|
prophetically as he purchased a print of it.
|
|
|
|
One day a horrible discovery was made: the painting was not a
|
|
genuine Old Master after all. It was a forgery. It had not been
|
|
painted by the famous artist whose name was on it, and in fact it
|
|
had been painted within the last ten years. The museum directors
|
|
and the curator were horrified and consumed with shame. Immediately
|
|
the painting was jerked from the walls of the museum and
|
|
ignominiously relegated to a basement storeroom. "We regret such
|
|
an unfortunate imposition," the curator told the museum's patrons.
|
|
"This painting is not art; it is a tawdry fake. This painting
|
|
is a lie."
|
|
|
|
At first the public was saddened to lose sight of such a popular
|
|
painting, and a few mild protests were raised, but eventually
|
|
concern for the painting was pushed aside by other more pressing
|
|
concerns, and it was forgotten (as are all things no longer directly
|
|
in front of us in this busy world) and life continued.
|
|
|
|
Only the museum curator and an occasional junior staff member ever
|
|
saw the painting now, hanging in the dim light of the basement well
|
|
away from public view. All that was heard of it was the curator's
|
|
occasional disparaging comment. "Every day I see new defects and
|
|
ugliness in this fraudulent outrage," he would say. "Just look how
|
|
false the sun on the leaves looks, how phony is the wisp of that
|
|
girl's hair, how ugly the clouds there, and how awkward that boy's
|
|
position in the dance. How we were ever taken in by this obvious
|
|
cheat is beyond me." And finally, shaking his head to show his
|
|
regret, he concluded, "What we did was foolish and shameful."
|
|
|
|
|
|
|
|
Matthew 18:3
|
|
|
|
"The door to this classroom is farther down the hall, sir," said
|
|
the student.
|
|
|
|
"How dare you try to tell me where the door is," huffed the
|
|
professor, as he turned around and walked abruptly into the wall.
|
|
While he held his bleeding nose, he was heard to mutter, "Now why
|
|
did they move the door?"
|
|
|
|
* A proud man never doubts, even when his nose bleeds.
|
|
|
|
|
|
|
|
The Boy and the Vulture
|
|
|
|
A young boy was playing in the desert with a bow and arrow he had
|
|
made, when a vulture, always looking for a tender meal, saw him from
|
|
afar. The bird flew over and, seeing that the arrow was only a
|
|
barren stick, swooped down and pecked at the boy. "Why don't you
|
|
shoot me if you don't like my pecking?" it taunted. The boy shot
|
|
his arrow repeatedly, but the bird was too quick, and the arrow
|
|
always missed.
|
|
|
|
Finally, exhausted from chasing the arrow and deflecting the bird,
|
|
the boy sat down in the sparse shade of a dead tree. The vulture,
|
|
lighting on one of the dry branches above the boy, sat triumphantly
|
|
preening and smirking, and even plucked a few old feathers to drop
|
|
on the boy's head in contempt. "There's for your pains, feeble
|
|
one," the bird said haughtily.
|
|
|
|
The boy, however, would not be defeated. Carefully he collected the
|
|
feathers, fixed them to his stick, and with the resultantly accurate
|
|
arrow, shot the surprised vulture through the heart.
|
|
|
|
* In our pride we often unwittingly give our enemies the means to
|
|
destroy us.
|
|
|
|
* Perseverance and ingenuity, even in the face of humiliation and
|
|
defeat, will at last succeed.
|
|
|
|
[Suggested by Aesop, "The Eagle and Arrow"]
|
|
|
|
|
|
|
|
Three Flat Tires
|
|
|
|
Once in the fullness and complexity of human existence three cars
|
|
left the same party one rainy night and took three different roads
|
|
on the way home. Oddly enough, at approximately the same time, each
|
|
car suffered a flat tire, and the young couples inside suddenly
|
|
found their evening and their lives somewhat different from what
|
|
they had been expecting.
|
|
|
|
The young lady riding in the first car became instantly upset.
|
|
"Well, this is just great," she said to her escort with
|
|
understandable disgust. "I knew I should have driven; then this
|
|
never would have happened. How could you be so careless when we're
|
|
all dressed up like this, anyway?"
|
|
|
|
"I'm sorry," the young man replied, getting out of the car. "I'll
|
|
fix it as fast as I can." He quickly retrieved the jack and the
|
|
spare tire and began to puzzle over the repair. In a minute the
|
|
young lady was at his side.
|
|
|
|
"You don't even know what you're doing, do you?" she asked.
|
|
|
|
"Well, not really, but I think I can figure it out," he told
|
|
her honestly.
|
|
|
|
"No you won't. I want this done right," the young lady answered, as
|
|
she grabbed the jack handle with just enough suddenness that the
|
|
young man lost his balance and fell over backward into a patiently
|
|
waiting mud hole.
|
|
|
|
While these events came into being to form a permanent, though
|
|
small, part of the history of the universe, the young driver of the
|
|
second car was, not many miles away, even then climbing out of his
|
|
vehicle into the rain and opening the trunk. His date, in a very
|
|
ladylike manner, and with due concern for her precious gown, stayed
|
|
in the car with her hands folded in her lap. She generously took
|
|
care to look away from the young man's labors in order not to cause
|
|
him embarrassment, and, when he slipped down and bumped his head on
|
|
the fender as he tried to loosen a particularly intransigent lug
|
|
nut, she very kindly turned on the radio.
|
|
|
|
The third young man, though he encountered different raindrops on a
|
|
different road on this night, realized similarly that he, too, was
|
|
destined to be wet, and pushed open the door with resolve. However,
|
|
as he climbed out of the car, the young lady he had been driving
|
|
home got out also. "Get back in the car," he told her, "or you'll
|
|
get wet."
|
|
|
|
"I'll help," the young lady said.
|
|
|
|
"There's nothing you can do," replied the young man as he reached
|
|
for the spare in the trunk. "It's really a job for one person, and
|
|
I've done it before."
|
|
|
|
"Then I'll watch," replied the young lady. And watch she did. Oh,
|
|
she held the lug nuts to keep them from getting lost, but to speak
|
|
truly, she was not really of any help and she did get drenched. As
|
|
he changed the tire, the young man looked at the young lady once or
|
|
twice, only to see her gown melting and her hair dripping down her
|
|
face, and no doubt he thought, "What a sight she is."
|
|
|
|
Well, I've told you this story as evidence of the foolishness and
|
|
irrationality of the human heart. For now observe the consequent:
|
|
|
|
The first young lady, naturally concerned for her safety and
|
|
realizing that she possessed knowledge that her young man did not,
|
|
quite reasonably chose to change the tire. However, the young man,
|
|
fool that he was, was never seen escorting this capable and logical
|
|
young lady again.
|
|
|
|
The second young lady, very sensibly concerned about preserving an
|
|
expensive dress and realizing that she would be of little or no help
|
|
to her young man, showed a similar wisdom in avoiding what she knew
|
|
would be the consequences of leaving the car. But, even though her
|
|
judgment was vindicated when she observed, in the form of the
|
|
drenched, muddy, and bleeding young man, exactly those consequences
|
|
she had predicted, the young man himself, blind and irrational as he
|
|
was, was also never again seen escorting this thoughtful and
|
|
discerning young lady.
|
|
|
|
Even stranger and more perverse as it must seem, however, the third
|
|
young man, even after observing the silly and unreasonable behavior
|
|
of his date, even after seeing her soaked to the skin, her gown
|
|
ruined, her hair plastered against her neck, her mascara running
|
|
down her cheeks in little inky rivulets--even after observing all
|
|
this, not only was he seen escorting her frequently to other
|
|
entertainments, but eventually he offered her a ring.
|
|
|
|
|
|
|
|
The History of Professor De Laix
|
|
|
|
The world had long been promised a fifty-volume definitive analysis
|
|
on the meaning of life by the brilliant and internationally
|
|
respected Professor de Laix. Admirers from all across the surface
|
|
of the earth produced unremitting and enthusiastic requests--nay,
|
|
demands--for the wise professor to bestow upon the world his
|
|
penetrating insights into human nature. As the years passed,
|
|
however, even though he had been begged repeatedly for the first
|
|
part, or a first volume, or even a first chapter, he had always
|
|
answered that he wanted to get the whole work clearly in his head
|
|
before he put it down on paper.
|
|
|
|
"To rush precipitously forward without knowing precisely where one
|
|
wants to go," he would tell them, "will not of necessity produce a
|
|
happy outcome because it might lead to a complicative erroneity or
|
|
put one on a train to a destination he would not ultimately wish to
|
|
visit. After all, the most beautiful part of a given day is known
|
|
only after dark, and the best path up the mountain--which I take to
|
|
be the path of true wisdom--is seen only from the top."
|
|
|
|
Year after year, therefore, arrived with hope and left disappointed;
|
|
new generations were born and millions of hopeful readers mingled
|
|
their own dust with that of the earth without the benefit of even a
|
|
phrase of Professor de Laix' wisdom.
|
|
|
|
Then one spring his colleagues and students noticed that he was
|
|
gradually becoming more and more animated, and was heard
|
|
occasionally to mutter, "Yes, yes, that's right, that's right."
|
|
Finally one day while he was sitting in a coffee shop regaling a few
|
|
favorite students with tales of fruitless thinking journeys upon
|
|
which he had in the past embarked, he took a sip of coffee (or
|
|
perhaps he had inadvertently been served espresso) and then suddenly
|
|
opened his eyes widely, sprang to his feet, and announced excitedly,
|
|
"That's it! I see it all now! Now it can be written! Everything
|
|
is completely clear! So clear! Ha ha! Now I understand! Now, at
|
|
last, I understand!"
|
|
|
|
After this brief speech, he burst out of the coffee shop (leaving
|
|
his students with expressions of amazement and an unpaid bill) and
|
|
began to run toward his office where he could finally sit down and
|
|
produce his great work. Now at last he could pour forth his
|
|
hitherto inexpressible wisdom to fertilize the orchards of culture
|
|
and bring into being a new and wonderful fruit for civilization to
|
|
munch upon.
|
|
|
|
Unfortunately, in his highly focused and externally oblivious rush
|
|
toward his office, he neglected to watch for the traffic as he
|
|
crossed the busy boulevard between the coffee shop and the
|
|
university (for academia is often separated from the rest of life by
|
|
just such a metaphor), and as a result he was tragically but
|
|
thoroughly run down by a fully loaded manure truck, whose cargo had
|
|
been produced after only one day's rumination, and whose owner also
|
|
hoped that it would swell the fruit on the trees of a less
|
|
figurative orchard.
|
|
|
|
Such was the life and death of the great Professor de Laix, a man
|
|
for whom someday almost came.
|
|
|
|
|
|
|
|
How the Humans Finally Learned to Like Themselves
|
|
|
|
It is man's peculiar distinction to love even those who err.
|
|
--Marcus Aurelius, VII.22
|
|
A sweet disorder in the dress.
|
|
--Herrick
|
|
|
|
Once upon a time, many years from now, technology had continued its
|
|
remarkable progress to the point that the construction of artificial
|
|
people had finally become possible. These humakins, as they were
|
|
called, were made so carefully and with such art that no one could
|
|
tell the difference between a real human and an artificial
|
|
one--except that the artificial ones were flawless. Physically the
|
|
humakins were always young, always beautiful, always fresh; they
|
|
never had a hair out of place, never a pimple, never a wrinkle,
|
|
never a gray hair. Mentally they were always bright, alert, and
|
|
smiling; they always got their facts right, and never took a wrong
|
|
turn or got lost.
|
|
|
|
At first the appeal of the humakins was irresistible, and most
|
|
humans chose them over other humans for spouses. What human female
|
|
could compete with an always slim, beautiful, and lively imitation?
|
|
And what human male could compete with an always confident, correct,
|
|
and handsome construction? In fact, the word "humakin" quickly
|
|
became a synonym for "perfect," as in, "That's a really humakin
|
|
car," or "This pie tastes just humakin." At the same time the word
|
|
"human" became a term of opprobrium, indicating something defective
|
|
or of low quality, as in, "I never shop there because it's such a
|
|
human store with human-quality merchandise."
|
|
|
|
To the consternation of many, however, while the humakins could
|
|
construct more of themselves in a factory, the humans could produce
|
|
more of themselves only by following the ancient method of their
|
|
ancestors, so that the result of the marriages between flesh and
|
|
plastic was the eventual decline of the human race.
|
|
|
|
When about nine tenths of the persons on the planet consisted of the
|
|
precisely fabricated humakins and only one tenth of the really
|
|
human, quite an odd and unexpected situation arose. It had become
|
|
so unusual to see, for example, a woman wearing glasses or a man
|
|
with wind-blown hair that such a detail now took on a natural appeal
|
|
to some of the other humans.
|
|
|
|
One bright morning at breakfast in a fancy resort dining room, a
|
|
human female, almost as lovely as a humakin, sat chatting with a
|
|
humakin male who had condescended to sit with her. Suddenly she
|
|
inadvertently spilled a glass of tomato juice onto her white tennis
|
|
dress. While her humakin companion predictably stood up and stared
|
|
at her with horror, across the room a human male who had just
|
|
witnessed the event was so filled with ardor and longing that he
|
|
almost broke the table in his rush to get over to her and make her
|
|
acquaintance. His excitement to declare his affection left him
|
|
without the capacity for coherent speech, so that only tentative and
|
|
confused phrases stumbled from his mouth. In the midst of his
|
|
babbling, though, he could see, in the welling dew of the woman's
|
|
eyes, the tenderness of regard he had inspired.
|
|
|
|
As other humans, too, began to grow weary of the expectation of
|
|
constant perfection in their relationships, scenes similar to this
|
|
one began to be repeated with increasing frequency. A loose shoe
|
|
lace, a chipped fingernail, a shiny nose--all gradually became
|
|
sources of romantic and emotional attraction, and those very
|
|
characteristics that had before been viewed as defects soon came to
|
|
be seen as emblems of the truly and desirably human, as guarantees
|
|
of that unique inner fire that no amount of perfectly crafted
|
|
plastic could equal.
|
|
|
|
The word "human" now began to be associated with the genuine, the
|
|
natural--and the beautiful. It became not uncommon to hear a young
|
|
lady remark to her admirer as he gently put a flower in her hair,
|
|
"Oh, what a human thing of you to do." The word "humakin," on the
|
|
other hand, began to imply something slickly unrealistic or
|
|
laughably fake and was often pronounced with a sneer.
|
|
|
|
At length, having rediscovered the amorous appeal of their
|
|
distinctives like freckles and missing buttons and the inability to
|
|
refold road maps, the humans began to marry each other again. It
|
|
wasn't many years before a young pledge of one of these new
|
|
relationships was heard to ask in a tone of frustration, "But Mommy,
|
|
why must I have a crooked tooth?" To which the mother replied,
|
|
"That's so I'll always remember how truly beautiful you really are."
|
|
|
|
|
|
|
|
The Caterpillar and the Bee
|
|
|
|
A bee, flying proudly around the garden, approached a caterpillar
|
|
sitting on a shrub. "I don't know how you can stand to be alive,"
|
|
the bee said. "I'm valuable to the world with my honey and wax, I
|
|
can fly anywhere I want, and I'm beautiful to behold. But you're
|
|
just an ugly worm, not good for anything. While I soar from bloom
|
|
to bloom feasting on nectar, all you can do is creep around and
|
|
chew on a stem."
|
|
|
|
"What you say may be true," replied the caterpillar, "but my
|
|
Maker must have put me here for some purpose, so I trust him
|
|
for my future."
|
|
|
|
"You have no future," said the bee. "You'll be crawling through the
|
|
dirt for the rest of your life. If you ask me, you'd be better off
|
|
choking on a leaf."
|
|
|
|
Sometime later the flowers in the garden woke to find that the bee
|
|
and the caterpillar had both disappeared. All that they could see
|
|
now was a shriveled yellow body hanging from the edge of a spider
|
|
web and a magnificent butterfly flexing its wings in the sun.
|
|
|
|
* This story reminds us that we cannot predict the future, either
|
|
for others or for ourselves.
|
|
|
|
*This story teaches us to trust in God rather than in the opinion
|
|
of men.
|
|
|
|
|
|
|
|
The Wise One
|
|
|
|
High in the mountains of a distant land there once lived a man so
|
|
incredibly old that his life no longer had any plot. He was so old
|
|
that his very name had faded from the memories of all those around
|
|
him, and he was known only as "The Wise One." He spent his later
|
|
days hearing and commenting on people's problems and sitting among a
|
|
dozen or two disciples who waited patiently to hear all that was
|
|
asked of him and all that he spoke. Sometimes an entire day would
|
|
pass when not a syllable opened his lips; whether this was from a
|
|
temporary lack of strength or simply because he had nothing to say,
|
|
no one knew.
|
|
|
|
While his reputation among his disciples and a few others was that
|
|
he possessed amazing wisdom and insight, many people thought him to
|
|
be an idle and incoherent fool because, they said, he never provided
|
|
a practical solution to the problem he was asked about. Instead he
|
|
would ask a simplistic question or tell a story whose point was so
|
|
obscure that many left his presence shaking their heads.
|
|
|
|
Some said that in his youth he had earned and spent large quantities
|
|
of money, only to turn from what he saw as a life of vanity to the
|
|
pursuit of wisdom. Others said that had that been true, he was
|
|
proved all the more fool for giving up the good life for a life of
|
|
hardship that was of little use to anyone. Thus, for every person
|
|
who called him The Wise One with reverence, twenty pronounced his
|
|
name with irony.
|
|
|
|
Of the stories still not erased by the hand of time, consider these
|
|
and judge the man as you will:
|
|
|
|
* * *
|
|
|
|
One day a man, clearly troubled by the cares of life, came to The
|
|
Wise One and spoke thusly:
|
|
|
|
"My son, to whom I had entrusted my farm, last week stole my best
|
|
cows, sold them in the market, and spent the money in wild and
|
|
shameful living. Now he says he is sorry and will repay me. What
|
|
should I do?"
|
|
|
|
"Tell me," replied the old man, "when you drop your bar of soap
|
|
while bathing, what do you do?"
|
|
|
|
"I pick it up, of course," the man answered, with some irritation.
|
|
|
|
"And now tell me, which is of more value, a bar of soap or a
|
|
human soul?"
|
|
|
|
While the questioner left not at all certain about what to do, one
|
|
of The Wise One's disciples, who had been deeply affected by this
|
|
exchange, rose and said, "Excuse me, O Wise One, but I must go and
|
|
reconcile myself to a man I have wrongly ceased to love."
|
|
|
|
"Yes, my daughter," is all The Wise One said.
|
|
|
|
* * *
|
|
|
|
Another time a young couple came to The Wise One to settle a great
|
|
argument. The old man listened seemingly more politely than
|
|
attentively as each gave a lengthy explanation of the dispute.
|
|
Finally the two looked to The Wise One for his decision, both of
|
|
them more confident than ever of being right. The Wise One reached
|
|
over to a vase sitting nearby and pulled out a rose. "Shall I hit
|
|
you with the bloom or with the stem?" he asked the couple.
|
|
|
|
"What are you talking about?" asked the young woman.
|
|
|
|
"It is written in the Book of Worn Out Sayings that 'in the rose
|
|
garden of life he who plucks thorns for his partner's bed is a fool.'"
|
|
|
|
"I don't understand," said the young man.
|
|
|
|
"Those who sell flowers put them in a pan of colored water and the
|
|
flowers take on the color of the water," concluded The Wise One. The
|
|
couple left confused and without resolving their dispute, but they
|
|
did seem to agree that their trip to The Wise One was worthless.
|
|
|
|
* * *
|
|
|
|
On one occasion two men came to The Wise One on the same day. The
|
|
first was a young man unsure about which road to take as he stepped
|
|
out into the world. "I have considered my career choices," he said,
|
|
"and I don't know whether to become a poet or a merchant."
|
|
|
|
The second man had just married a wife and was about to buy a house
|
|
for them to live in. "I have investigated many houses carefully,"
|
|
he said, "and have found two that would be suitable. The first
|
|
house is nearly new and well designed but damp inside, while the
|
|
second is light and airy but older and not so well designed. I
|
|
don't know which to choose."
|
|
|
|
"Your problems are one," said The Wise One, as he picked up a honey
|
|
comb and squeezed it until the honey was drained out into a bowl.
|
|
"You both must choose between the wax and the honey."
|
|
|
|
"My gosh," said one of The Wise One's disciples, leaping to his
|
|
feet, "I'm about to marry the wrong girl." And with that, he ran
|
|
off into the distance.
|
|
|
|
The two men looked at each other, searching each other's face for a
|
|
glimmer of understanding, which neither found.
|
|
|
|
* * *
|
|
|
|
One spring a richly dressed young man came to The Wise One and spoke
|
|
these words:
|
|
|
|
"I have come from a far kingdom where I have just ascended the
|
|
throne. My father ruled long and was old when he died, and now I am
|
|
remodeling his castle. The many books of his great library are in
|
|
the way of my new banquet hall, and I desire to rid myself of so
|
|
much old paper. But I do not wish to throw out every book. I want
|
|
to keep some for the sake of his precious memory. Thus, I have come
|
|
to you for a principle of selection. Which books should I keep and
|
|
which should I burn?"
|
|
|
|
"Go to the ancient source of rock in your kingdom, from which your
|
|
cities have been built," answered The Wise One, "and build a pile of
|
|
stones until you can stand on it and see over the edge of the
|
|
quarry. Then remove the contemptible stones."
|
|
|
|
With a look of deep thoughtfulness on his brow, the young ruler left
|
|
the presence of The Wise One and returned to his kingdom. It is not
|
|
recorded whether this advice was put into effect or whether it
|
|
helped the young ruler with his decision.
|
|
|
|
* * *
|
|
|
|
There are many other stories about The Wise One, just as there are
|
|
many other people with their own stories. But these shall suffice
|
|
to show how one old man exhausted the meager remnant of his days on
|
|
earth. Whether his life was spent well or ill perhaps even he
|
|
himself did not know.
|
|
|
|
|
|
|
|
On the Heroic Suffering of Mankind
|
|
|
|
A man stood philosophically on the prow of his ship, deeply inhaling
|
|
the fresh sea air, feeling the warmth of the bright sunshine on his
|
|
face, and ignoring or perhaps not hearing the burst of the whip as
|
|
it lacerated the backs of the struggling slaves in the galley. But
|
|
in the midst of enjoying his view, he felt a particle of dust fly
|
|
into his eye. By blinking and rubbing it a little, he removed the
|
|
speck, but his eye was reddened.
|
|
|
|
"Well," he said stoically, "life has many pains and hardships and we
|
|
must bear them as best we can." Then relaxing upon a couch and
|
|
ordering two slaves to dab his brow with a moistened cloth, he
|
|
called upon his friends to sympathize with his suffering, whereupon
|
|
he found some satisfaction in complaining of his hurt.
|
|
|
|
|
|
|
|
The Quest
|
|
|
|
All literature is but a variation on the quest motif.
|
|
--Someone or Other
|
|
|
|
Too busy to look, too busy to be wise.
|
|
--Someone Else or Someone Other
|
|
|
|
There once was a man who wandered from town to town constantly
|
|
examining the ground. He carried a lantern in the daytime and a
|
|
compass at night. When asked what he was doing, he would answer,
|
|
"I'm looking for a place to stand, so that when the wind blows I may
|
|
stand and not fall."
|
|
|
|
Most people thought he was insane until a man who had lived long and
|
|
experienced much was overheard to say of him, "Only a few people are
|
|
as wise as this man, for he is engaged in the only search that
|
|
really matters."
|
|
|
|
|
|
|
|
Life
|
|
|
|
One day a man called his friend and invited him to lunch at his
|
|
office. "Just come on over and we'll have a great time," the
|
|
man said.
|
|
|
|
"Where is your office?" the friend asked.
|
|
|
|
"I'm not sure of the address," answered the man, "but it's somewhere
|
|
downtown, I think."
|
|
|
|
"Well," asked the friend, "what does the building look like?"
|
|
|
|
"It's tall, like an office building."
|
|
|
|
"What floor are you on?"
|
|
|
|
"I think it's one of the middle ones."
|
|
|
|
"How many doors down from the elevator?"
|
|
|
|
"Oh, it's several. But I've never really counted them."
|
|
|
|
"Don't wait for me," said the friend, as he hung up.
|
|
|
|
* This is not a story about a man who could not give directions to
|
|
his office. This is a story about the architecture of life. For
|
|
many people inhabit their own lives in just this way, not knowing
|
|
where they are or how to tell others how to reach them.
|
|
|
|
|
|
|
|
Discernment
|
|
|
|
"But compared to the pearls, this piece of string is worthless,"
|
|
said the man, as he pulled it from the necklace and lost his
|
|
whole treasure.
|
|
|
|
|
|
|
|
It Depends on How You Look at It:
|
|
Eight Vignettes on Perspective
|
|
|
|
A man's house burned to the ground. Upon hearing of it, the man
|
|
said angrily, "This is the fault of oxygen!" For, as he explained,
|
|
if there hadn't been any oxygen in the atmosphere, his house never
|
|
would have burned.
|
|
|
|
* * *
|
|
|
|
When the boss called Smervits and Jenkins into the office, Jenkins
|
|
was very nervous because his plan to salvage the Freeble contract
|
|
had not worked. Smervits wasn't worried because he had shrewdly
|
|
stood by while Jenkins floundered with the contract.
|
|
|
|
"Jenkins, you failed," the boss said forcefully after the two men
|
|
had entered. "That's good," he added, "because it shows that you
|
|
tried something. Smervits, you didn't fail, but you didn't try
|
|
anything, either. You're fired."
|
|
|
|
* * *
|
|
|
|
One day the power went off in the mine, leaving the miners in
|
|
absolute darkness. One miner found a match and lit it. "What a
|
|
dinky little flame," said one of his companions, with contempt.
|
|
|
|
"What a great light in the darkness," said another, with awe.
|
|
|
|
* * *
|
|
|
|
"Just think," said the man in the orange hard hat, "to us that's just
|
|
a useless pile of rock. But to someone with greater vision it has
|
|
value. It can be changed by his direction into something useful."
|
|
|
|
"How's that?" someone asked.
|
|
|
|
"First it has to be crushed, and then heated in a furnace, to give
|
|
up its old properties and take on new ones. Then it can be mixed
|
|
with water and molded into something beautiful."
|
|
|
|
"So that's how you make cement, huh?"
|
|
|
|
"No," someone said, "that's how you make a Christian."
|
|
|
|
* * *
|
|
|
|
An officer came upon a young soldier so weighted down with weapons
|
|
and ammunition that he couldn't move. "You know why you aren't
|
|
attacking the enemy, don't you?" asked the officer.
|
|
|
|
"Yes," replied the soldier. "I'm waiting for more ammunition."
|
|
|
|
* * *
|
|
|
|
Once in a pleasant garden there stood a tree, from which, legend
|
|
said, God himself would one day reign. But instead, a group of
|
|
wicked men broke in and chopped the tree down. They hacked the tree
|
|
into a beam and nailed a holy man to it, leaving him to die upon a
|
|
hill. So the tree of hope now had become a beam covered with blood
|
|
and death. "See here," the wicked men said, laughing with scorn,
|
|
"in what manner God's promises are fulfilled."
|
|
|
|
* * *
|
|
|
|
The chairman of the department asked the young professor how his
|
|
book was coming along. Said the professor, "Oh, the book is already
|
|
written; I just haven't put it down on paper yet." The chairman
|
|
patted the man on the back and told him to keep up the good work.
|
|
|
|
A construction worker, watching this scene transpire, decided that
|
|
what was good enough for academe was good enough for him, so he sat
|
|
back and opened a beer. Presently his foreman came along and wanted
|
|
to know what was going on. Said the worker, "Oh, the hole is
|
|
already dug; I just haven't taken out the dirt yet." The foreman,
|
|
not having been enlightened by Higher Education, fired the worker,
|
|
right in the middle of his beer.
|
|
|
|
* * *
|
|
|
|
A man on foot approached an abandoned auto wrecking yard that still
|
|
had many old pieces of assorted cars lying around. "What an
|
|
enormous pile of worthless junk," he said to himself as he walked
|
|
by. The next day another man on foot approached the same yard.
|
|
"What a wonderful pile of worthy raw materials," he thought as he
|
|
surveyed the area. A few days later the second man drove away in
|
|
his own car.
|
|
|
|
|
|
|
|
The Strange Adventure
|
|
|
|
Once upon a time, so long ago that it seems like yesterday,
|
|
circumstances so occurred that two youths found themselves lost
|
|
together in the desert and forced to spend the night without the
|
|
services of modern technology.
|
|
|
|
"What a terrible thing," said the first one. "We're stuck out here
|
|
all alone among who knows what frightening stuff."
|
|
|
|
"This is great," said the other. "What an adventure. I can't wait
|
|
to see what happens."
|
|
|
|
As the light began to fade, the youths happened upon a snake,
|
|
sitting on a rock to get the last warmth it could find before the
|
|
cold night set in.
|
|
|
|
"Oh, no!" said the first youth. "Out here it's just one problem
|
|
after another. Now we'll have to worry about that snake crawling
|
|
all over us as we sleep."
|
|
|
|
"What a great opportunity," said the second youth. "Now we can have
|
|
some dinner." Soon the snake was roasting on an impromptu fire, and
|
|
in a little while, the two youths began to eat.
|
|
|
|
"This is horrible," said the first youth, spitting out the meat and
|
|
nearly vomiting. "I can't imagine a worse thing."
|
|
|
|
"Actually, it tastes rather mild," said the second youth, eating
|
|
with relish.
|
|
|
|
When the next day came and the youths were rescued, they were asked
|
|
about their adventure.
|
|
|
|
"It was the most awful, horrible experience I've ever had," said the
|
|
first youth, trembling from the memory. "I'll be mentally scarred
|
|
by it for the rest of my life."
|
|
|
|
"It was great!" said the second youth. "I think it's the best thing
|
|
that ever happened to me. What a fun time. I'm so glad I was there."
|
|
|
|
* The events we experience are less important than the meaning we
|
|
give to them, for life is about meaning, not experience.
|
|
|
|
|
|
|
|
In Defeat There Is Victory
|
|
|
|
Once upon a time, among the infinite events which pass daily in this
|
|
world, a man took his son and daughter to the racetrack to watch the
|
|
horses run. After several races, the man announced that he would
|
|
place a bet. "We want to play, too!" his children cried excitedly.
|
|
|
|
"Very well," answered the man. "Here are the names of the horses in
|
|
the coming race: 1. Dotty's Trotter; 2. Sure Win; 3. Also Ran; 4.
|
|
High Risk; 5. Looking Good; 6. Outside Chance; 7. King Alphonso."
|
|
|
|
"I want to bet on Sure Win," the boy said eagerly. "There's nothing
|
|
like the certainty of success."
|
|
|
|
"And I will bet on Looking Good; he sounds so handsome and strong,"
|
|
the daughter said, with a trace of a sigh.
|
|
|
|
"Good, children," their father replied, and he went off to place the
|
|
bets for them.
|
|
|
|
"Whom did you bet on, daddy?" the daughter asked when he returned.
|
|
|
|
"I bet on Outside Chance," he answered.
|
|
|
|
Soon the race started. The horses bolted from the gate and took off
|
|
at top speed. Looking Good looked good around the first turn.
|
|
"Yay, yay, yay!" the girl yelled, jumping up and down as the desire
|
|
of her heart moved forward. "I'm winning! I'm winning!"
|
|
|
|
"Patience, my child," said her father. "In horse racing, unlike in
|
|
life, we look only at the finish, not at the progress."
|
|
|
|
"I sure hope that's true," the boy said, "because Sure Win is
|
|
running fifth."
|
|
|
|
"Yes, my son," replied his father, trying to soften an inevitable
|
|
blow, "although you know you cannot gamble and be sure at the
|
|
same time."
|
|
|
|
At length the horses came into the final stretch, and, except for
|
|
King Alphonso, who trailed rather substantially, there were only a
|
|
few lengths between the leader and the trailing horse. But in that
|
|
final, all-consuming, frenzied gallop, where mere wish and common
|
|
effort give way to inner strength and spiritual power, the spaces
|
|
increased, so that finally the children, with their feelings crushed
|
|
by the surprise of unexpected failure and by the dismay of dashed
|
|
hope, watched the horses run across the finish line in this order:
|
|
1. Outside Chance; 2. Also Ran; 3. Dotty's Trotter; 4. Sure Win; 5.
|
|
High Risk; 6. Looking Good; 7. King Alphonso.
|
|
|
|
While the girl burst into unrestrained sobbing, the boy, feeling the
|
|
full difficulty of the conflict between youth and manhood, choked
|
|
his tears back, and knowing his father to be a philosophical type,
|
|
tried to see the metaphorical application of this event. "This race
|
|
is an allegory, isn't it, Father?" he asked, "where we learn that to
|
|
succeed we must avoid what appears to be a 'Sure Win' and apply
|
|
ourselves instead to the 'Outside Chance.'"
|
|
|
|
"No, my boy," the man answered. "The lesson is that we should not
|
|
pay attention to names and appearances, but that we should penetrate
|
|
beneath the surfaces of things; that we must consider real
|
|
abilities, evaluate past records, and trust our judgment to bring us
|
|
to a knowledge of the truth. Appearances and labels are often false
|
|
and seldom accurately reflect inner realities. We must not let our
|
|
casual perceptions influence our beliefs or rule our actions. I bet
|
|
on Outside Chance because he previously has consistently
|
|
outperformed the other horses in today's race, or horses that have
|
|
beat the others. I care not about his name. Read where it says
|
|
that God does not judge by external appearances, and imitate him."
|
|
|
|
"But I still like Looking Good and I wanted him to win," his
|
|
daughter said perversely, wiping her tears and stamping her foot.
|
|
"Outside Chance is a creep."
|
|
|
|
"And now, my daughter," said the man, "you have first felt the
|
|
conflict between reason and passion. May you learn to resolve
|
|
it well."
|
|
|
|
|
|
|
|
The Oppressed Girl
|
|
|
|
This may seem like a tall story, but there was once a teenage girl
|
|
who didn't get along with her parents. "I'm sick and tired of all
|
|
these oppressive rules," she would complain. "I feel just totally
|
|
controlled. I want to be free!" So she ran away from home. "Now,"
|
|
she thought, "I can stay up all night and listen to loud music and
|
|
watch awful movies."
|
|
|
|
When she told her friends of her new freedom, they said, "Great!
|
|
Let's celebrate and get drunk."
|
|
|
|
"Yeah, why not?" she replied. "I can do anything I want." So she
|
|
drank and laughed and vomited and passed out on the bathroom floor.
|
|
|
|
A little while later, she met an older girl who seemed to be
|
|
experienced in the ways of freedom. "Hey," said the older girl, "to
|
|
be free, just take these pills and free your mind from all your
|
|
cares." So the teenage girl took the pills and felt strange and
|
|
didn't sleep for three days and then closed her eyes and woke up in
|
|
the middle of the following week.
|
|
|
|
Another time she met a young man who seemed to know about the free
|
|
life. "Let me help to liberate you," he said, putting his arm
|
|
around her. And so they went to his van and drove to a vacant lot
|
|
where the young man kissed her and "liberated" her and told her to
|
|
leave and drove away.
|
|
|
|
Many days later--days that passed without recognition or
|
|
remembrance--the girl found herself sitting on a bench waiting for a
|
|
bus in the middle of the desert. As she sat there gazing at the
|
|
distant mountains, conscious of little more than the rising heat,
|
|
she heard herself say, "I don't know what to do."
|
|
|
|
"Whatever you do will be foolish," said a voice from behind her.
|
|
|
|
"What?" the girl asked with some surprise, not sure whether she was
|
|
listening to a person or a hallucination. The voice was that of an
|
|
old woman with bony hands.
|
|
|
|
"Good decisions come from good values," continued the old woman, as
|
|
she watched her knitting rather than the girl. "You have thrown
|
|
your values away and so your decisions are poor."
|
|
|
|
"But I wanted to be free," the girl answered.
|
|
|
|
"There is no freedom without rules," the woman said. "Without rules
|
|
there is only slavery."
|
|
|
|
"You know nothing about me," said the girl, her anger rising. "I'm
|
|
not a slave to anyone. And I can do anything I want to. So just
|
|
be quiet."
|
|
|
|
As she got on the bus to yet one more destination, the girl turned
|
|
back to the old woman and said, "I'm sorry I got mad. The truth is,
|
|
I'd do anything to be happy for one hour."
|
|
|
|
"That pretty well sums up your entire problem," the old woman said.
|
|
|
|
|
|
|
|
Two Conversations on Direction
|
|
|
|
"And then you turn here to the right."
|
|
|
|
"Really? No, I don't think so. The left path must be the way.
|
|
It's more attractive, and it somehow just feels right."
|
|
|
|
"I'm sorry, but you have to take the fork to the right. See the
|
|
little sign pointing the way?"
|
|
|
|
"Yes, but something just tells me the left fork is the one to
|
|
take. The ground looks better, and that tree up ahead seems
|
|
so persuasive."
|
|
|
|
"Well, I ought to know the way to my own house. There is only one
|
|
way, along the right path."
|
|
|
|
"Uh uh. The right path looks bad. I just can't believe it leads to
|
|
your house. You probably don't remember correctly."
|
|
|
|
"You'll get lost if you don't come this way. The other fork dead
|
|
ends. The only thing there is a swamp, a pit, and a snake."
|
|
|
|
"It can't be. It looks so well traveled. And I have such a feeling
|
|
that it will take me to your house; I've got to try it."
|
|
|
|
* * *
|
|
|
|
"Hi. Hop in."
|
|
|
|
"Thanks, I appreciate the ride."
|
|
|
|
"No problem. Where are you going?"
|
|
|
|
"I don't know. That's what I want to find out. Where are you going?"
|
|
|
|
"To San Diego."
|
|
|
|
"Then where are you going?"
|
|
|
|
"Back home, why?"
|
|
|
|
"And then where are you going?"
|
|
|
|
"Well, oh, I get it. Then I'm going to rise in the firm and
|
|
become president."
|
|
|
|
"And then where will you go?"
|
|
|
|
"I guess eventually I'll retire. Say, you feeling all right? You
|
|
seem a little strange."
|
|
|
|
"But after you retire, where will you go?"
|
|
|
|
"Well, we all die eventually, so I guess I'll wind up at the cemetery."
|
|
|
|
"And then where will you go?"
|
|
|
|
"I get it. You're one of those religious fanatics, right? I think
|
|
you'd better find another ride. You can get out here."
|
|
|
|
"Okay, I'm going. But I see you don't know where you're
|
|
going, either."
|
|
|
|
"Yes, I do. I'm going to San Diego."
|
|
|
|
|
|
|
|
Semiotics Strikes Out
|
|
|
|
It so happened in heaven one day that two souls who had been friends
|
|
in their college years on earth met after long lives apart. After a
|
|
few minutes of joyous reunion and recounting of their lives, one of
|
|
the souls realized that they were now in a place where all hearts
|
|
can be revealed, and where they no longer needed to hide anything.
|
|
|
|
"You want to hear something funny, Lissa?" the soul said. "Back
|
|
when we were young, I really loved you. Not having you for my wife
|
|
is the one great regret of my earthly existence. Pretty silly, huh?"
|
|
|
|
"Not at all," said Lissa. "I always secretly loved you, too, and
|
|
hoped against hope that someday you might notice me."
|
|
|
|
"Why didn't you say anything?"
|
|
|
|
"I was too shy. But I sent you hints."
|
|
|
|
"Hints?"
|
|
|
|
"Yes, like the brownies I gave you that rainy day in the
|
|
student union."
|
|
|
|
"Oh, or like the chocolate-chip cookies you gave me that one time?"
|
|
|
|
"Well, no, those were only cookies. I was just being friendly. But
|
|
that Christmas when I gave you a coffee mug. That meant I loved you."
|
|
|
|
"Oh, I know. That thank-you note you wrote when I fixed your sink
|
|
you signed, 'Love ya special.' That was a hint, huh?"
|
|
|
|
"Actually, I signed all my cards and notes that way, so I was just
|
|
thanking you then. But remember that note I wrote where I called
|
|
you a 'weird monster man'? Boy, how I loved you then. I wish
|
|
you'd responded."
|
|
|
|
"I thought maybe that meant you didn't like me. I never was good at
|
|
hints. I remember thinking a few times that some girl was hinting
|
|
that she liked me but when I would ask her out or mention romance,
|
|
she'd always look shocked and be dumbstruck with disbelief that I
|
|
could ever have thought she'd be interested in me." And here the
|
|
soul sighed, as only souls can sigh.
|
|
|
|
"Well, why didn't you just say something to me, like, 'I love you'?"
|
|
asked Lissa.
|
|
|
|
"I was afraid. And I didn't want to risk destroying our friendship
|
|
by producing unwelcome romantic overtures. And besides, I sent you
|
|
hints, too."
|
|
|
|
"Your overtures, as you call them, wouldn't have been unwelcome.
|
|
But what do you mean you sent me hints?"
|
|
|
|
"I took you out to lunch."
|
|
|
|
"But you took lots of girls out to lunch."
|
|
|
|
"That was just for companionship or friendship. I just liked them,
|
|
but I loved you. I thought about you day and night all through
|
|
college, and for awhile after graduation, too."
|
|
|
|
"I wrote you a couple of love letters that I never sent."
|
|
|
|
"Gosh, I wish you'd said something."
|
|
|
|
"I wish you'd said something, too."
|
|
|
|
* As we pass through earthly life so quickly and only once, how sad
|
|
that our fear of rejection is so often stronger than our love.
|
|
|
|
|
|
|
|
Seeing is Believing
|
|
|
|
One day an idle young man was wandering through the woods not far
|
|
from his town when he happened upon an old woman standing around a
|
|
rather smoky fire and stirring a kettle. Being the modern young man
|
|
that he was, he immediately blurted out his first impression:
|
|
|
|
"Gosh, you're ugly and whatever you're cooking stinks," he told her.
|
|
|
|
"Well, if you don't like my looks," answered the old woman, "I can
|
|
fix that." She then spoke a few strange words, which were followed
|
|
by a dramatic puff of smoke, and the young man discovered, not that
|
|
the old woman had transformed herself into a beautiful young maiden,
|
|
but that the young man could no longer see.
|
|
|
|
"Now I've protected you from all ugliness and every unpleasant
|
|
sight," said the woman. "And you'll remain this way until you can
|
|
find someone to marry you. And it will have to be someone who can
|
|
look beyond externals better than you, because I'm also changing
|
|
your looks a bit." Here the woman gave a little laugh and uttered a
|
|
few more unintelligible words. Soon there was another puff of smoke.
|
|
|
|
"Ooh, bummer," said the young man, feeling of the new bump on his
|
|
nose and the deep wrinkles now in his cheeks.
|
|
|
|
When the young man returned to town, he quickly discovered that his
|
|
social life was now pretty much a historical artifact. Whenever he
|
|
went to a party, the reaction was always the same.
|
|
|
|
"What's wrong with him?" some girl would ask.
|
|
|
|
"He's gotta look that way until someone marries him," would come
|
|
the reply.
|
|
|
|
"Hasn't that plot already been done?" the girl would say, walking
|
|
off in another direction.
|
|
|
|
But, hey, this is a fairy tale and I'm in a good mood so let's say
|
|
that finally, after many rejections, the young man found a nice girl
|
|
who actually loved him as he was.
|
|
|
|
As the young man got to know her, he kept trying to imagine what she
|
|
looked like. After awhile, he constructed a picture of her in his
|
|
mind, so that whenever he looked in her direction, his imagined
|
|
vision of her came before his eyes so vividly that he felt he could
|
|
almost see her. He thought that he could very nearly see the slight
|
|
curve of her lips, the sunlight shining in her hair, the expressions
|
|
of delight or concern on her brow.
|
|
|
|
Well, anyway, things worked out so well that pretty soon the girl's
|
|
father was mortgaging his house to pay for the wedding.
|
|
|
|
When the bride and groom awoke on the first day of their honeymoon,
|
|
the young man discovered that his eyes had been opened. However, he
|
|
also discovered that the girl lying beside him did not have the deep
|
|
blue eyes with long eyelashes, or the upturned nose with little
|
|
freckles of the girl he had been seeing in his mind. The young
|
|
man, still in the habit of blurting out his first impression, said,
|
|
"Gosh, you've changed."
|
|
|
|
"No," said his new wife. "The only thing that's changed is that now
|
|
you can see. Oh, and you no longer have a bump on your nose."
|
|
|
|
"But where's your blonde hair?" the young man asked.
|
|
|
|
"My hair has always been this color," the girl said, fingering her
|
|
chestnut tresses.
|
|
|
|
"But you look so different," the young man said, still confused.
|
|
|
|
"When you looked at me before," the girl explained, "you saw only
|
|
your imagination. This is what I'm really like."
|
|
|
|
"I see," said the young man, as he embraced her and began to give
|
|
her a thousand kisses.
|
|
|
|
"I know," she said.
|
|
|
|
|
|
|
|
A Traditional Story
|
|
|
|
Once upon a time, several time zones from your house, there lived a
|
|
king who had tons of money, mansions and castles on too many lots,
|
|
plenty of art and cultural treasures, dozens of wives (some of whom
|
|
loved him), and so much power that the mere mention of his name
|
|
caused cardiac arrest among a considerable number of his subjects.
|
|
But--he was not happy. So he called his advisors to him to seek
|
|
their advice.
|
|
|
|
"My soul troubles me," he told his court. "I have seemingly a full
|
|
life, but I do not find happiness here. In the middle of an
|
|
amusement, or when I wake at night, or as I take a bite of rare and
|
|
delicious food, I feel an overcast sky in my heart. Help me to
|
|
dispel this cloud."
|
|
|
|
"Perhaps your majesty would be happy if he had more wealth,"
|
|
suggested his treasurer. So the king increased the taxes on his
|
|
people, hired traders to go to distant lands to buy and sell, told
|
|
his workers to redouble their efforts in his precious metals mines
|
|
and minted more coins than ever. It wasn't long before the king had
|
|
so many storehouses full of treasure that he couldn't even count them.
|
|
|
|
On many an occasion his majesty would be riding through a city and
|
|
see a huge building he didn't recognize, and upon inquiry, discover
|
|
that it was yet one more warehouse full of his loot. And let me
|
|
tell you, these warehouses were so glutted with gold and jewels and
|
|
coins and rich carpets and Old Master paintings and antique vases
|
|
that when the king wanted to look inside one, the jewels would flow
|
|
out the door like gravel and the coins would spill out like water.
|
|
His servants got so tired of replacing the excess that they finally
|
|
just began to shovel it into the trash can after the king left. (Of
|
|
course, they probably helped themselves to a little bit of it, too.)
|
|
|
|
In his palaces, the king had so much fancy stuff that ancient
|
|
statues were used as door props in the stables, thousand-year-old
|
|
urns were used as spittoons in the kitchen, and scraps of precious
|
|
carpets were used to clean the servants' boots. The point is that
|
|
after all this additional acquisition, the king's lifestyle was much
|
|
fancier, but the king himself was still not happy.
|
|
|
|
"What his majesty needs is activity," said the king's culture
|
|
minister. "Activity is the rubbing paper that scours the rust from
|
|
the soul and burnishes her to a new shine. If the king would just
|
|
engage in some hobbies, he would find contentment." So the king
|
|
took up some hobbies: hunting, painting, dancing, building (more
|
|
mansions and castles), eating, woodworking, stamp collecting, riding
|
|
(in his golden carriage and on horseback), swimming (in his pool
|
|
full of pearls), and even knitting. In all he tried thousands or
|
|
perhaps hundreds of activities, each of them dozens of times.
|
|
|
|
He also held athletic contests, built amusement parks, and ransacked
|
|
the world for jugglers and magicians and singers and players and
|
|
storytellers (that's how I met him) and musicians. He ate too much,
|
|
drank too much, and danced and played and watched and traveled and
|
|
did too much and basically engaged in a constant frenzy of activity
|
|
from morning to night, from January to December, from the beginning
|
|
of the decade to its end. And the result was that he was amused for
|
|
awhile, but was mostly fat and tired and sometimes drunk and often
|
|
disoriented, but still not happy.
|
|
|
|
"Perhaps your majesty would be happy if he ruled the surrounding
|
|
lands and felt secure from attack," suggested the head of his army.
|
|
"For the proverb says, 'In security lies happiness.'" So his
|
|
majesty instructed his generals to go forth and conquer the
|
|
territories around him. After a preposterous quantity of noise,
|
|
smoke, blood, guts, and dying, the king found himself in possession
|
|
of jillions of acres of farms and towns and houses and cottages and
|
|
the souls of all those who lived therein. He now ruled over the
|
|
land as far as he--or even someone with good eyesight--could see in
|
|
every direction from the top of his highest tower. At any time of
|
|
day or night the king could call for the relief of a distressed
|
|
friend or the beheading of an enemy. He had absolute say over the
|
|
life or death, the happiness or suffering, of millions of people of
|
|
every rank and degree, from the most exalted noble in a seaside
|
|
mansion to the most unfortunate street urchin in a grimy and
|
|
stifling hovel. Such a thought sometimes gave the king half a
|
|
smile, but he was still not happy.
|
|
|
|
"Perhaps what the king needs is love," said the eunuch in charge of
|
|
the king's harem. "If he would marry a new variety of ever more
|
|
beautiful wives, he would perchance find happiness among them." So
|
|
the king decided to realize this scenario in three dimensions and
|
|
searched throughout his kingdom for the most desirable women he
|
|
could find. He found pretty ones and witty ones and laughing ones
|
|
and moody ones and smart ones and elegant ones and plain ones and
|
|
philosophical ones and decorated ones--women of every proportion,
|
|
size, color, personality, and talent, and he married a hundred of
|
|
them, some of whom loved him even more than those among the first
|
|
few dozen he was already married to. And the king found much
|
|
pleasure in his wives, but he was still not truly happy.
|
|
|
|
"The king will find happiness only in wisdom," said one of the
|
|
king's scholars. "For it is written that 'truth is a joy unto
|
|
itself.'" So the king applied himself to books of wisdom, and to
|
|
seeking the knowledge of all his many scholars and sending
|
|
throughout all his realm to find the wise from every land. Dozens
|
|
came and dozens pretended to instruct him in wisdom or in the way to
|
|
happiness, but while he found some really good advice and some
|
|
satisfying rules for life, happiness still eluded him.
|
|
|
|
Then one day came a woman from a land beyond the sunrise. Her words
|
|
were few but they so affected those who listened that she was
|
|
immediately granted an audience with the king, who explained the
|
|
discontent of his condition.
|
|
|
|
"Here before me," he said, "it would seem that I have everything a
|
|
man could want. I have three or four rings on every finger, I can
|
|
caress a beautiful woman's hair in any color, I can ride a week in
|
|
any direction and find my statue erected and feared, and I can hear
|
|
any melody or see any play at my command. I possess or can do or
|
|
enjoy everything I can imagine, and everything that the most
|
|
creative of my servants can imagine. And yet I find that happiness
|
|
is nowhere to be found. I am always rankled by a feeling of
|
|
dissatisfaction and haunted by an awareness of emptiness."
|
|
|
|
"Truly, his majesty's desires seem to be infinite," said one of his
|
|
courtiers, scarcely more able to hide his disgust than his envy.
|
|
|
|
"His majesty's desires are indeed infinite," said the woman. "For
|
|
that is the nature of the human heart. The heart's deepest desires
|
|
cannot be satisfied by any finite thing."
|
|
|
|
"Then what am I to do?" asked the king with dismay.
|
|
|
|
"You must seek the Infinite," the woman said.
|
|
|
|
"And where can I find it?" he asked. "What form does it take?"
|
|
|
|
"The Infinite is not a thing or in a particular place," said the
|
|
woman. "But seek Him and you will find happiness."
|
|
|
|
When the people saw that the woman was returning to her land, they
|
|
asked what she had said to the king.
|
|
|
|
"She reminded us of what we had forgotten," said one of the king's
|
|
scholars, "that we are but travelers through an ephemeral landscape,
|
|
and that on a journey through a desert, we should not expect to find
|
|
happiness from fingering the grains of sand in the dunes. We find
|
|
happiness by finding our way home."
|
|
|
|
|
|
|
|
The Day Creativity Met the Linear Dragon
|
|
|
|
It was a winter's rainy day when the new Vice President for Design
|
|
Concepts (who had just been promoted from Senior Accountant because
|
|
he could calculate to the nearest nickel how much a new car would
|
|
cost to build) noticed that two of his employees, a young man and a
|
|
young woman, were not at their desks. Upon inquiring, he was told
|
|
that they had "gone to the loft to be creative." The Vice President
|
|
(who could remember the part number of every component he had ever
|
|
touched) calmly adjusted his bow tie, cleared his throat, checked to
|
|
see that his shoelaces were still tied, and then strode briskly down
|
|
the long corridor of the half-remodeled automobile factory. Soon he
|
|
was walking up the stairs to the loft, only to arrive at a door
|
|
marked, "Do Not Disturb."
|
|
|
|
Viewing the sign as an affront to his authority, he applied Chapter
|
|
Two of the assertiveness training book he had just finished and
|
|
quickly opened the door with determination and a scowl.
|
|
|
|
What he saw was not what he expected. Near the door was a boom box,
|
|
playing very lively but not overly loud classical music. Directly
|
|
in front of him across the room he saw the young woman, barefoot and
|
|
wearing, instead of her business attire, purple sweatpants and a
|
|
torn green sweatshirt. Worse than this, she was turning cartwheels
|
|
and saying what sounded to him like, "Put it in the lake, dip it,
|
|
water proof it, French dip it, soak it, drench it, pinch it, wrench
|
|
it." When she stopped to attend to his interruption, he noticed that
|
|
her hair was rubber banded into a vertical column on top of her head.
|
|
|
|
The young man was sitting off to one side, wearing jeans and a
|
|
T-shirt printed with the words, "None of the Above." Nearby was an
|
|
open ream of copier paper, many sheets of which he had evidently
|
|
wrinkled up into a ball and tossed at a trash can a few feet away,
|
|
with highly indifferent accuracy. A few of the sheets had been
|
|
written on with multicolored felt-tip pens and placed carelessly in
|
|
several piles.
|
|
|
|
"What's going on here?" demanded the Vice President.
|
|
|
|
"We work here," said the young man.
|
|
|
|
"Not any more you don't," said the Vice President sternly. "Just
|
|
what do you think you're doing, anyway?"
|
|
|
|
"We're working on the new Blister DLX," said the young woman.
|
|
|
|
"I don't see any work being done here," the Vice President
|
|
shot back.
|
|
|
|
"We're thinking," the young woman said.
|
|
|
|
"This doesn't look like thinking to me."
|
|
|
|
"Oh? And what does thinking look like to you?" asked the young man.
|
|
|
|
"Well, it certainly doesn't look like this. This is goofing
|
|
off--and stop wasting that paper. Who are you, anyway?"
|
|
|
|
"I'm Scott and this is Tina," the young man said. "We're creative
|
|
analysts. We're working on cost-cutting ideas."
|
|
|
|
"Cost cutting?" sneered the Vice President. "You don't even have a
|
|
calculator. And besides, we've got engineers and accountants to cut
|
|
costs, so even if you were doing that, you'd be either superfluous
|
|
or redundant. I want you out of the plant by this afternoon."
|
|
|
|
That afternoon Scott and Tina went to the Vice President's office.
|
|
As Scott stretched out on the floor and began to spread out a few
|
|
papers, Tina pushed aside many feet of adding machine tape and sat
|
|
in the Lotus position on one end of the Vice President's desk. The
|
|
Vice President was not quite so upset that he did not notice that
|
|
Tina was wearing earrings made from crumpled balls of paper hanging
|
|
from bent paper clips. "We'd like to ask you to reconsider your
|
|
firing us," said Tina. "We have some good ideas for the Blister."
|
|
|
|
"Get out," said the Vice President.
|
|
|
|
The next day all the executives met at a regularly scheduled
|
|
administrative meeting, where there seemed to be some confusion and
|
|
delay in getting started. Finally, the President of the company
|
|
spoke up. "I'm sorry for the delay," he said, "but we had scheduled
|
|
a report on cost saving ideas by two of our top creative analysts
|
|
and it now appears that some idiot fired them yesterday. However,
|
|
we are in the process of getting everything straightened out, and
|
|
they should be here soon."
|
|
|
|
"I hope it's Scott and Tina," one of the other executives said.
|
|
"They're really brilliant."
|
|
|
|
"If unconventional," noted another.
|
|
|
|
"Unconventional or not," said the Chief Operating Officer, "I'll
|
|
never forget how they saved us eighty-six million dollars on the
|
|
Dazzle II by helping us reduce the number of parts. And when their
|
|
expense account came through, all they'd bought were radio batteries
|
|
and a couple of reams of paper."
|
|
|
|
"I remember that," said the first executive. "No fancy research, no
|
|
costly experiments, just pure thought, just great ideas. They
|
|
actually know how to think."
|
|
|
|
"What kind of a jerk would fire people like that?" someone asked.
|
|
|
|
And so it was that the new Vice President for Design Concepts was
|
|
invited to take his skills to some other company, even though he
|
|
could recite the exact cost of every part of every car the
|
|
corporation made.
|
|
|
|
|
|
|
|
The Wall and the Bridge
|
|
|
|
In the high country of a far away land there once stood a massive
|
|
wall, blocking the pass between two mountains. Just below the wall
|
|
was a path leading around the mountains--a path made possible by
|
|
a bridge connecting it across a deep chasm directly in front of
|
|
the wall.
|
|
|
|
Now, the wall and the bridge were always bickering. One day when an
|
|
old peddler leading an even older mule with a load of shabby wares
|
|
crossed the bridge on the way to a distant fair, the wall said to
|
|
the bridge, "You know, the trouble with you is that you have
|
|
absolutely no discretion. You let just anyone walk over you. In
|
|
fact, you're the slut of architectural forms, granting promiscuous
|
|
entry to all and sundry."
|
|
|
|
"Is the greenness I see all over you moss or envy?" replied the
|
|
bridge. "I enable people to fulfill their dreams; I provide
|
|
opportunity for a better life. You're just an obstructionist, but
|
|
I'm a facilitator--a metaphor for access, for hope, for possibility."
|
|
|
|
On another day a young maiden fleeing evil men ran across the rocks
|
|
until she reached the wall where she could go no farther. She cried
|
|
out and pounded her fists against the wall in despair until the men
|
|
caught up with her and carried her away. The bridge then said to
|
|
the wall in disgust, "You once accused me of having no discretion,
|
|
but you are worse, for you are completely heartless. You're so cold
|
|
and rigid that you cruelly prevent even the distressed and needy
|
|
from passing by. Maybe that's why walls are known everywhere as
|
|
symbols of 'No!' while we bridges are known as symbols of 'Yes!'"
|
|
|
|
"You, my loose and easy friend," said the wall, "indeed let the
|
|
distressed pass, but you also let the criminals pass. I, on the
|
|
other hand, provide the needed security to keep the land behind me
|
|
safe from harm. I am a protector, and I defend this pass and the
|
|
country well."
|
|
|
|
This dialogue continued for many years until one morning when
|
|
suddenly the earth shook with great violence. So strong was the
|
|
tremor that both the wall and the bridge were reduced to rubble at
|
|
the bottom of the chasm. Not many months later men came to repair
|
|
the damage. In the process of reconstruction, however, the stones
|
|
that were once part of the bridge were used to rebuild the wall
|
|
and the stones that were once part of the wall were used to rebuild
|
|
the bridge.
|
|
|
|
"Now I'll show you what a wall should really be like," said the new
|
|
wall. "It shouldn't be cold and rejecting to everybody." And so at
|
|
first, the new wall let many people climb up over it.
|
|
|
|
"And I'll show you what a bridge should do," said the new bridge.
|
|
"It shouldn't let just anybody across." And so at first, the new
|
|
bridge provided a difficult passage, causing many travelers to trip
|
|
on the surface and a few even to fall over the edge.
|
|
|
|
But as spring and summer, harvest and winter came and went again and
|
|
again, the rocks on the new wall grew more and more slippery and the
|
|
little projections gradually broke away, so that climbing over or
|
|
even getting a foothold became very difficult. And in the same
|
|
passage of time, the rough spots on the new bridge wore down and the
|
|
crevices filled up, so that passage across became much easier.
|
|
|
|
"You see," said the new bridge to the new wall, "you've learned
|
|
something about being a wall."
|
|
|
|
"Well," the new wall replied, "I've known all along that I must
|
|
guard the pass and fortify the defenses of the country. And of
|
|
course I know it's my job to keep out all those who don't belong.
|
|
But I see you've finally discovered how to be a bridge."
|
|
|
|
"You can say what you like," answered the new bridge. "But I've
|
|
always understood that I provide a critical link in the path
|
|
around the mountains, and that my purpose is to help travelers
|
|
across the gorge."
|
|
|
|
As the years collected, as years do, the new bridge and the new wall
|
|
began to think less and less about what they had once been and more
|
|
and more about the task they currently had to do, until eventually
|
|
it became impossible for anyone to tell that the new wall had once
|
|
been a bridge or that the new bridge had once been a wall.
|
|
|
|
"How indiscriminate and common you are," the new wall would often
|
|
tell the new bridge.
|
|
|
|
"And how inflexible and repressive you are," the new bridge
|
|
would reply.
|
|
|
|
|
|
|
|
The Wish
|
|
|
|
While walking along the beach one day, a man spotted an old,
|
|
barnacle-covered object which on closer examination he discovered to
|
|
be an ancient bronze oil lamp. "Hah! Aladdin's lamp," he thought,
|
|
jokingly. "I'll rub it." To his surprise, when he did rub it, a
|
|
genie appeared.
|
|
|
|
"Okay, Bud," said the genie, in a remarkably bored tone. "You have
|
|
one wish--anything you want. What is it?"
|
|
|
|
"Money," the man said instantly, his eyes widening. "Yes! Endless
|
|
money. Riches! Wealth! Ha! Ha! Huge, massive, obscene wealth!"
|
|
|
|
"I thought so," said the genie in the same bored tone.
|
|
|
|
"No, wait," the man said, his eyes suddenly narrowing. "Power. Yeah,
|
|
that's it. Complete and total power over everyone and everything
|
|
in the world. With power I could get all the money I wanted."
|
|
|
|
"So you want power, huh?" asked the genie.
|
|
|
|
"Well, yes," said the man, now a bit hesitant because of the genie's
|
|
less-than-enthusiastic tone. "Of course, with money I suppose I
|
|
could buy power. Which do you think I should ask for, Genie?"
|
|
|
|
"How about world peace or personal humility or an end to famine or
|
|
maybe an end to greed," suggested the genie, emphasizing the last
|
|
phrase. "Or perhaps the gift of discernment or knowledge or
|
|
spiritual enlightenment or even simple happiness."
|
|
|
|
"But with money or power I could buy or command all those," objected
|
|
the man.
|
|
|
|
"Yeah, sure," said the genie.
|
|
|
|
"Well, just give me power and I'll show you that I can have
|
|
everything else, too."
|
|
|
|
"You shall have what you ask," said the genie resignedly. "Whether
|
|
you shall have what you imagine you must learn for yourself, and you
|
|
will soon find out."
|
|
|
|
"Well, I certainly hope to have it all. Don't you ever hope, Genie?"
|
|
|
|
"Yes," said the genie. "I hope that someday my lamp will fall into
|
|
the hands of a wise man."
|
|
|
|
And so the man was given power over everything on earth, over every
|
|
government, every event, every activity of every soul. As a result,
|
|
his name was soon pronounced with hatred and contempt by everyone,
|
|
and in a few months he was assassinated by his most trusted followers.
|
|
|
|
|
|
|
|
Several One Way Conversations
|
|
|
|
"Yes, they are shackles, but they are made of gold," said the man, as
|
|
he asked for another pair on his wrists and two more on his ankles.
|
|
|
|
* * *
|
|
|
|
"You can see how great I am by observing what I have done," said the
|
|
chisel to the other tools, as they gazed upon the beautiful statue.
|
|
|
|
* * *
|
|
|
|
"My word is as good as my check," said the forger, as he handed over
|
|
partial payment and promised to pay the balance later.
|
|
|
|
* * *
|
|
|
|
"May you get everything you want," said the philosopher to his enemy,
|
|
knowing that his enemy would not recognize his words as a curse.
|
|
|
|
* * *
|
|
|
|
"I'll teach this dirt not to muddy my shoes," said the man,
|
|
shoveling madly, only soon to discover himself in a pit.
|
|
|
|
* * *
|
|
|
|
"Now I see how essential material things are," said the man, as he
|
|
looked at the ashes of his burned down house.
|
|
|
|
* * *
|
|
|
|
"How dare you, who are nothing but a low worm, try to tell me what
|
|
to do," said the man, as he stood there unmoving, just before the
|
|
piano landed on him.
|
|
|
|
|
|
|
|
How the King Learned about Love
|
|
|
|
Back in the days of knights and chivalry and courtly love, a
|
|
beautiful young woman fell in love with a man of noble birth, who,
|
|
however, was already married. Their love continued to grow until
|
|
the woman granted and the man took more than virtue could properly
|
|
countenance and one morning the woman awakened with the right to use
|
|
the pronoun "we" whenever she spoke.
|
|
|
|
She realized that she could not inform her lover because of his
|
|
position, for he was not only married but also a very prominent
|
|
member of the court. So she concealed the matter remarkably over
|
|
many months, until, in the fullness of time, it could be concealed
|
|
no longer. At that point she resolved to throw herself on the mercy
|
|
of her mistress, the king's daughter, to whom she was a lady in
|
|
waiting. She took her newborn son to the princess and begged quite
|
|
pathetically for her help.
|
|
|
|
The king's daughter, knowing that he was a hard man who had never
|
|
hesitated to crush, kill, or otherwise persecute anyone who offended
|
|
him in the slightest, realized that she could not tell the truth or
|
|
say simply that the child had been found during one of the princess'
|
|
walks, because the king would then send it to a harsh life in an
|
|
orphanage--and that would be if she found him in a good mood. She
|
|
decided instead to declare to the king that the child was her own
|
|
and take the guilt, together with any other consequences, upon
|
|
herself, for she loved her lady in waiting very much.
|
|
|
|
When the king learned that his daughter had given birth (or so he
|
|
believed), he was unutterably furious, and spent the better part of
|
|
an hour ranting and shouting execrations and breaking things. But
|
|
when he demanded which of his knights had helped her into this
|
|
situation, the princess, not willing to sacrifice any of the noble
|
|
and completely innocent knights of the castle, invented the story of
|
|
a secret lover from outside the castle walls.
|
|
|
|
The king suspected that his daughter was lying, or trying to
|
|
lie--for the girl was so honest that she could not dissemble with
|
|
conviction--so that he was now even more uncontrollably enraged than
|
|
before; he now began screaming directly at his daughter and breaking
|
|
larger and more expensive things. And because he could think of
|
|
nothing but her duplicity and disobedience and his injured honor and
|
|
her betrayal of his affection, he coldly (or rather hotly)
|
|
determined to banish her from the kingdom. "For," he argued, "I
|
|
will love not those who love not me." He therefore cruelly turned
|
|
the girl and the child over to the traders of a passing caravan from
|
|
a distant land who would take them past the borders of the kingdom.
|
|
|
|
Even as she saw her father's look of hatred as she was packed into
|
|
the wagon at the rear of the caravan, the princess did not alter her
|
|
resolve to keep her secret, for now she knew that if the king knew
|
|
the truth, her lady in waiting would most certainly be executed. As
|
|
for the lady in waiting, she was so stricken with grief over the
|
|
king's actions that she very nearly took her own life. But the
|
|
princess had commanded her never to reveal the secret, regardless of
|
|
the consequences, and the lady in waiting feared that the princess
|
|
would be exposed by such an action. So the woman, helpless to
|
|
remedy the situation, instead fled the palace in tears.
|
|
|
|
As the traders proceeded out of the kingdom, the princess resolved
|
|
that, whatever should happen to herself, she would not see the child
|
|
grow up a slave. She therefore watched carefully for an opportunity
|
|
and one night sneaked off from the traders as far as she could get
|
|
in the cold and dark, and put the child near a hut, hoping and
|
|
praying that it would find safety and a free life, however humble.
|
|
She then sneaked back to the traders, and pretended to be cuddling
|
|
the baby in her arms.
|
|
|
|
The caravan traveled two full days before her deception was
|
|
detected. When it was, the princess once again played audience to
|
|
violent anger. The traders yelled and cursed the girl; then they
|
|
beat her with fists and even with sticks, accompanied by more curses
|
|
and threats; but nothing they could do could force her to tell what
|
|
she had done with the baby. The traders, remembering the promises
|
|
made to them by the king to encourage the secrecy of their charges,
|
|
and fearing the consequences of a breach of that secrecy, sent
|
|
riders back over the route they had traveled, to search everywhere.
|
|
|
|
Meanwhile an old woodcutter, who lived in the hut with his wife,
|
|
found the baby and brought it inside. As they looked upon the
|
|
beautiful, healthy child, their eyes shone with a sparkle that they
|
|
thought had long ago disappeared forever. But even in their
|
|
delight, they recognized immediately that the child was no ordinary
|
|
foundling, for it had noble features and was wrapped in silks and
|
|
wore a gold brooch with a white lily on it.
|
|
|
|
They soon recognized that the child would need better fare than the
|
|
rough crusts and ordinary water the couple subsisted on--for they
|
|
were extremely poor--so they began to wonder how they could take
|
|
care of it.
|
|
|
|
"We could pick some of our neighbor's fruit at night," suggested the
|
|
woman, "or perhaps sell the gold brooch."
|
|
|
|
"Or we could cheat the king the next time he buys wood," said the
|
|
woodcutter sarcastically. "But we won't do any of those things.
|
|
You know that it isn't right to do wrong, even to bring good. God
|
|
has brought us this child; I pray that he will help us feed it."
|
|
|
|
Now, the old woodcutter had been saving a few coins from his meager
|
|
earnings over the past three years in order to buy himself a new axe
|
|
head in the spring. "But," he thought to himself, "I suppose I
|
|
could sharpen this old head one more season, and with a little
|
|
longer handle, it ought to be good enough to get my by." So he took
|
|
the money he had saved and gave it to his wife, instructing her to
|
|
buy the child proper food and raiment.
|
|
|
|
The old woman was so moved by this sacrifice that she took off her
|
|
locket--other than her wedding ring the only piece of jewelry she
|
|
owned, and an heirloom from her great grandmother, at that--and
|
|
contributed it to the welfare of the child. "For," she said, "I was
|
|
never so foolish as to believe that love had no price."
|
|
|
|
Just a few days later a rider from the traveling caravan arrived,
|
|
and visited the woodcutter's neighbor. Because the woodcutter was
|
|
not far away at the time, he overheard the conversation. "Have you
|
|
seen anyone with a baby in the past week?" demanded the rider roughly.
|
|
|
|
"Who's asking?" asked the neighbor, without excessive politeness.
|
|
As the woodcutter heard the angry, cursing, threatening reply of the
|
|
rider, he ambled back to his hut to inform his wife of what was
|
|
going on. The couple was quite shrewd enough not to reveal anything
|
|
to a rude, angry, and ill-dressed man on horseback, because, they
|
|
concluded that, however deficient their own hospitality to the
|
|
child, it was likely to be better than whatever would be offered by
|
|
such a ruffian. "And besides," the woodcutter's wife said, "I
|
|
already love the child too much to give him up."
|
|
|
|
As the days passed, the old couple grew thoroughly attached to the
|
|
baby. They both found themselves unexpectedly humming little tunes
|
|
or smiling for no apparent reason, and they both found their chores
|
|
suddenly lighter and easier. They worked faster, eager to finish
|
|
and once again spend some time playing with the child.
|
|
|
|
However, it wasn't many weeks before the old woodcutter and his wife
|
|
were forced to admit that they were simply too old and too poor to
|
|
raise the child as it should be, and that they ought in all fairness
|
|
to the babe to find a better home for it. "For," as the old woman
|
|
explained, "I love the child too much to keep him."
|
|
|
|
So the woodcutter took the child to a house where several holy women
|
|
lived and, after explaining the brief history of the child as he
|
|
knew it, asked for their help. "The wife and I don't have the
|
|
learning behind us, the money with us, or the years ahead of us to
|
|
raise this child as it ought to be raised," said the woodcutter to
|
|
the matron of the house, "so we'd appreciate it if you could find it
|
|
a proper home."
|
|
|
|
"Our small endowment provides us with only a modest living," the
|
|
matron said, "but we will care for the child until we can find out
|
|
whom it belongs to, or until we can find it a good home." So the
|
|
man left the child with them and went on with his wood cutting. The
|
|
matron of the house assigned care of the child to one of the newest
|
|
of the holy women, who could nurse it.
|
|
|
|
About this season in the kingdom, the queen gave birth to a son
|
|
also. The child, however, was weak and sickly, and failed to
|
|
flourish. In just a few weeks it developed a fever and died
|
|
suddenly in the night. The queen, in addition to her grief, was
|
|
frantic with anxiety, knowing that the king was such a hard man that
|
|
if he knew his only son had died, he would hate the queen and
|
|
perhaps divorce her. So she sent, with the utmost secrecy, a
|
|
trusted servant to find another child to replace the one she had
|
|
lost. "Bring me a child with no past," she told her servant, "and I
|
|
will give it a future."
|
|
|
|
Finding such a child was a tiring and frustrating task for the
|
|
servant, and he met with humiliation and rejection and insult and
|
|
false leads and failure at every turn. But since this story is not
|
|
about him, nor about the rewards of perseverance, let us say simply
|
|
that eventually he found himself at the door of the holy order of
|
|
women we have mentioned above.
|
|
|
|
"Yes, we do have such a child as you seek," the matron told him.
|
|
"We were keeping him until we could find his parents, or until we
|
|
could find him a good home. Perhaps your mistress, whoever she is,
|
|
will care for him well." The servant assured the matron that this
|
|
would be so and gave her a large gift to maintain the house and its
|
|
charitable work. As she handed him the child, she said, "The woman
|
|
who has been nursing the child says that this parting is like a
|
|
death to her, for she has become very attached to him. But she
|
|
loves him too much to think of her feelings. I hope that what is a
|
|
sadness for her will be a happiness for the child."
|
|
|
|
"Truly, good woman," replied the servant, "it is rightly said that
|
|
the death of every fruit is the seed of new life. Every ending is
|
|
also a beginning."
|
|
|
|
As the years passed, the baby grew up into a fine, strong young man.
|
|
The king, who remained crusty and harsh toward everyone else,
|
|
changed completely when his son (as he supposed) entered the room.
|
|
The king became actually friendly and laughed some and often engaged
|
|
in animated conversation with the young prince. The king was often
|
|
heard to say that he would never let the prince part from him even
|
|
for a day but that the prince should be his always. They often rode
|
|
on horseback through the forest all day or sat together by the fire
|
|
until the servants fell asleep, discussing the kingdom and enjoying
|
|
each other's company.
|
|
|
|
When the prince reached his early manhood, the king not only took
|
|
him into confidence on affairs of state, but began to share power
|
|
with him, knowing that not many more years would pass before there
|
|
would necessarily be a new king. Many of the king's decisions were
|
|
now submitted to the prince before they were made, and the prince,
|
|
to his credit, frequently moderated the king's stern and often
|
|
cruel decrees.
|
|
|
|
By this time, the queen was in poor health, troubled by constant
|
|
pain and a lingering cough. Everyone at the court eventually
|
|
recognized that she was about to die. For several days the queen
|
|
debated with herself whether or not to let the secret of the prince
|
|
die with her, but at last, showing the heritage of her daughter's
|
|
honesty, she decided that she must reveal it to the king.
|
|
|
|
By the time she reached this decision, the queen was truly on her
|
|
deathbed, so she called the king to her and sat up weakly. "My
|
|
king," she began, "I have a matter to disclose to you that has
|
|
burdened my heart for many years. It concerns the prince." And
|
|
here she hesitated for a few moments. The king waited in silence.
|
|
"You," she continued, "are not his father."
|
|
|
|
The king, immediately concluding that the sanctity of his marriage
|
|
bed had been violated, exploded into a rage that would likely have
|
|
ended the queen's suffering prematurely had she not added as loudly
|
|
as she could, "And I am not his mother." The king then, though
|
|
still in shock, calmed himself enough to hear her explanation of the
|
|
death of their natural son and her subterfuge in adopting the child
|
|
who was now the prince. The king at first gave little credit to
|
|
this tale, thinking that the queen was either delirious or scheming
|
|
against him and his beloved son in some way. But he sent attendants
|
|
to the holy order to discover the truth. They soon returned with the
|
|
matron of the house and the woman who had nursed the prince as a baby.
|
|
|
|
"If what the queen tells me is true," said the king, "I have no
|
|
happiness, no reason to live. For the only thing I love has been
|
|
taken away."
|
|
|
|
The matron from the holy order solemnly attested to the truth of the
|
|
queen's story. "The prince was indeed the baby given us by the
|
|
woodcutter so many years ago," she said. As the king felt a wave of
|
|
despair washing over him, the nurse from the holy order came forward
|
|
and spoke.
|
|
|
|
"With all deference to my Lady and to her majesty," she said, "the
|
|
queen is only half correct. For the child was indeed not hers, but
|
|
he is the king's son." She then pulled back the cowl of her robes,
|
|
took down her hair and showed the king her face. Even through the
|
|
ravages of two decades, the king could still clearly see the face of
|
|
his daughter's lady in waiting, his lover who had borne his child
|
|
without his knowledge so many years ago. The lady briefly explained
|
|
what had happened then and how she had immediately recognized the
|
|
child when the woodcutter brought it to the holy house.
|
|
|
|
"You willingly gave me your son, even though I was evil?" the king
|
|
asked in disbelief.
|
|
|
|
"I loved you," the lady in waiting said simply. "And I loved my
|
|
son--our son--more."
|
|
|
|
When he realized how unjust and hypocritical he had been toward the
|
|
lady, the princess, and the queen, the king was so overwhelmed with
|
|
shame and humiliation that he fell to his knees and began pulling on
|
|
his hair and sobbing loudly. His crying was the only sound in the
|
|
room until the queen spoke.
|
|
|
|
"I forgive you, my husband and my king," she said. "And I love you."
|
|
|
|
"You love me?" the king asked, rising and turning to her with
|
|
astonishment. "You love me after I have banished your daughter and
|
|
proven unfaithful to you?" But there was no answer, for the queen
|
|
had already closed her eyes for the last time.
|
|
|
|
The king stood as one who had been stunned. He could not speak or
|
|
think. As he sat down in a stupor at the foot of the queen's bed,
|
|
the prince suddenly spoke. "I have found a mother today," he said.
|
|
"I must now find a sister, too. I shall leave immediately in
|
|
search of her."
|
|
|
|
"No!" the king yelled, standing up. But then, recollecting himself,
|
|
he said, "No, you're right. You must go from me and find your sister."
|
|
|
|
In the days to come, as the king sat alone in his richly tapestried
|
|
rooms, he had many hours to think over the events that had formed
|
|
his life and to ask himself whether there was not in love some
|
|
quality that can be shown only in sacrifice, not in advantage; only
|
|
in surrender, and not in triumph.
|
|
|
|
|
|
|
|
The Fly and the Elephant
|
|
|
|
A fly sat on an elephant's back. When the elephant shuffled down a
|
|
dirt road, the fly said, "What a dust we are making!" When the
|
|
elephant trudged knee-deep in the mud, the fly said, "How heavy
|
|
we are!"
|
|
|
|
|
|
|
|
The Man Who Talked Backwards
|
|
|
|
There was once a bizarre old philosopher who always seemed to say
|
|
the opposite of what those who sought his advice expected. So
|
|
contrary were his words that he was known as The Man Who Talked
|
|
Backwards. His blessing on those he loved was, "May you have
|
|
difficulty in this life," and his bitterest curse on his enemies
|
|
was, "May your life pass without a single sorrow." Whenever someone
|
|
asked him what course of learning to undertake in order to increase
|
|
his knowledge, the philosopher would reply, "If you want to learn
|
|
something, become a teacher." Whenever some grateful hearer would
|
|
ask how he could repay the philosopher for his advice, he would
|
|
always answer, "The best way to repay a debt to me is to cancel a
|
|
debt owed to you."
|
|
|
|
The Man Who Talked Backwards reversed even the most common of
|
|
proverbs. Instead of repeating that "to love is to be patient," he
|
|
would always quote, "To be patient is to love." Rather than noting
|
|
that "seeing is believing," he would say, "Believing is seeing."
|
|
For, he explained, what you believe controls what you see.
|
|
|
|
A young woman once asked him, "What can I do to make someone my
|
|
friend? Shall I oil my skin or brush my hair?"
|
|
|
|
"Rather you should oil the skin and brush the hair of the one you
|
|
like," answered the philosopher.
|
|
|
|
Another day a young scholar approached The Man Who Talked Backwards
|
|
and asked him what books he should read, "For," the student said, "I
|
|
realize that the more I read the more I will know."
|
|
|
|
"You will indeed learn something by reading," answered the
|
|
philosopher, "but the more you read the less you will know. That is
|
|
what makes reading of value."
|
|
|
|
"But how shall I know what beliefs I should hold in order to live
|
|
the best life?" the young scholar asked.
|
|
|
|
"You think that your beliefs shape your actions," replied the
|
|
philosopher, "but I tell you, it is your actions that shape
|
|
your beliefs."
|
|
|
|
One day a woman came to the Man Who Talked Backwards for advice.
|
|
"I know," she said, "that 'to live is to choose,' so I have come
|
|
here to discover how I might fix my choices to live a fuller, more
|
|
productive life."
|
|
|
|
"The better saying," said the philosopher, "is that 'to choose is to
|
|
live.' But if you want to live life more fully, do less."
|
|
|
|
"Do less?" the woman asked with surprise. "But I'm an achiever. I
|
|
thrive on accomplishment."
|
|
|
|
"Perhaps you have already diluted your life into meaninglessness,"
|
|
suggested the philosopher.
|
|
|
|
"But I'm easily bored," said the woman.
|
|
|
|
"I am truly sorry," said the philosopher. "Did you ever seek help
|
|
for yourself?"
|
|
|
|
"What do you mean?"
|
|
|
|
"For your infirmity of being bored."
|
|
|
|
"My infirmity?" asked the woman, again surprised.
|
|
|
|
"Ah," said the philosopher, "You attribute your boredom to others or
|
|
to external circumstances."
|
|
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"Well, of course," she said.
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"In that case, I am sorry for your two infirmities."
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"But I want to get as much out of life as I can," the woman
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protested. "You philosophers all say that one's life does not
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consist in material things because they disappear, but what then can
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I gain that I can keep?"
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"The only thing that you can really keep--and keep forever--is what
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you give away," said the philosopher.
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Late one afternoon a blunt young man came up to The Man Who Talked
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Backwards and asked him, "Now that you are old and about to drop
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dead, do you look forward to death or fear it--or perhaps I should
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ask, Did you live a good life or a bad one?"
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"It is not one's life that determines his view of death," replied the
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philosopher, "but one's view of death that determines how he lives."
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"So you are ready to end your life?" asked the blunt young man.
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"Death is not an end to life, as you suppose," said the philosopher.
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"This world is but a mirror that reverses everything as it reflects
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it. Death therefore is merely the shattering of a mirror."
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"Your mirror already has a large crack in it," said the blunt young
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man, with a laugh.
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"Thank you," said the philosopher.
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The Clue
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In every civilization, someone has to put up the signs that guide us
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on our way. --Proverb
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Sometimes they had to drill the post holes up on Rocky Bluff--and it
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was a tough dig, what with the rocks and the hardness of the soil.
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They came home plenty tired and dirty on those days. Other times
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they drilled the holes down in Sandy Meadow, where the augur slipped
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in smoothly, quickly, and easily. They all praised the meadow and
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said how great it was to get an assignment to put up some signs
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there. And yet, when they told the stories of their lives--the
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stories that animated their faces and brightened their eyes--they
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always seemed to be speaking of Rocky Bluff.
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An Analogy
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As he clung to the sheer face of the rock, he could hear in his mind
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the voice of his climbing instructor: "If you make even a slight
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mistake, you will die instantly." He knew then that he need not
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debate whether to be attentive in his climb. And he was glad also
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that God is like a rock only in his steadfastness.
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About the Author
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Robert Harris was born in Los Angeles, California in 1950. He is
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currently (1995) an English professor at Southern California
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College in Costa Mesa, California. He lives in Costa Mesa with
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his wife, Rita.
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End of the Project Gutenberg edition of STORIES FROM THE OLD ATTIC
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(C)1992 Robert Harris
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