tenerezza e le parole

„Cîţiva bătrîni s-au dus la avva Pimen şi l-au întrebat: «Dacă-i vedem pe fraţi aţipind la liturghie, să-i scuturăm ca să-i ţinem treji?» El le zice: «Eu cînd văd un frate aţipind, îi pun capul pe genunchii mei şi-l odihnesc.»“ (Pimen, 92) 

 Finalul de la Macarie Egipteanul, 39: „Un cuvînt rău îi face răi chiar şi pe cei buni, iar un cuvînt bun îi face buni chiar şi pe cei răi.“ 

extrase din Pateric de Andrei Pleșu

W.H. Auden

Far from imagining that artists were superior to anyone else, he had seen in himself that artists have their own special temptations toward power and cruelty and their own special skills at masking their impulses from themselves.

He observed to friends how common it was to find a dedicated anti-fascist who conducted his erotic life as if he were invading Poland.

the view that the dictator’s victims are inherently innocent, not merely innocent victims of someone else’s evil, but innocent in everything, so that even after the murderous dictator has been destroyed, their own actions, no matter how oppressive or unjust, may not be judged by the same standard as his actions. As victims of irrational hatred, they cannot imagine themselves acting on comparable hatreds. Against this fantasy of inherent innocence, Auden recognized that victims, no matter how guiltless in their own victimization, are tempted to become victimizers in turn. As he put it briskly in a song, “Many a sore bottom finds/A sorer one to kick.”

He had no literal belief in miracles or deities and thought that all religious statements about God must be false in a literal sense but might be true in metaphoric ones.

Montaigne: “We are, I know not how, double in ourselves, so that what we believe we disbelieve, and cannot rid ourselves of what we condemn.”

The Secret Auden – Edward Mendelson