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Revilo P. Oliver

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The most beautiful conception of immortality of which I know, and certainly one that by contrast shows the utter vulgarity of Christian ideas, is set forth in Pindar's second Olympian: after three or six lives in which a man has lived with strict justice and perfect integrity, he passes beyond the tower of Cronus to the fair realm that cannot be reached by land or sea, where gentle breezes from a placid ocean blow forever on the fields of asphodel. For a description, see Pindar. If the beauty of great poetry can commend a religion, here you have it.
--
"Afterthoughts on Afterlife", Instauration magazine (August 1980)

 
Revilo P. Oliver

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The sensitive eye can never be able to survey, the orb of the sun, unless strongly endued with solar fire, and participating largely of the vivid ray. Everyone therefore must become divine, and of godlike beauty, before he can gaze upon a god and the beautiful itself. Thus proceeding in the right way of beauty he will first ascend into the region of intellect, contemplating every fair species, the beauty of which he will perceive to be no other than ideas themselves; for all things are beautiful by the supervening irradiations of these, because they are the offspring and essence of intellect. But that which is superior to these is no other than the fountain of good, everywhere widely diffusing around the streams of beauty, and hence in discourse called the beautiful itself because beauty is its immediate offspring. But if you accurately distinguish the intelligible objects you will call the beautiful the receptacle of ideas; but the good itself, which is superior, the fountain and principle of the beautiful; or, you may place the first beautiful and the good in the same principle, independent of the beauty which there subsists.

 
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Ryokan, who shook off the modern vulgarity of his day, who was immersed in the elegance of earlier centuries, and whose poetry and calligraphy are much admired in Japan today — he lived in the spirit of these poems, a wanderer down country paths, a grass hut for shelter, rags for clothes, farmers to talk to. The profundity of religion and literature was not, for him, in the abstruse. He rather pursued literature and belief in the benign spirit summarized in the Buddhist phrase "a smiling face and gentle words". In his last poem he offered nothing as a legacy. He but hoped that after his death nature would remain beautiful. That could be his bequest.

 
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What is that land of hill and dale
That is so beautiful,
The land aglow with summer days,
Land with the northern lights ablaze,
Whose beauty all the seasons share,
What is that land so fair?

There many thousand lakes are bright
With twinkling stars at night
There many kanteles resound
And all around make hillsides sing
And on the golden heath firs ring:
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A painter makes patterns with shapes and colours, a poet with words. A painting may embody an ‘idea’, but the idea is usually commonplace and unimportant. In poetry, ideas count for a good deal more; but, [...] the importance of ideas in poetry is habitually exaggerated: '... Poetry is no the thing said but a way of saying it.' [In poetry,] the poverty of the ideas seems hardly to affect the beauty of the verbal pattern.

 
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Only the actual conception of the divine nature changes according to the different ideas of perfection which prevail in particular ages and nations. The gods of the remoter ages of Greece and Rome, and those worshipped by our own earliest forefathers, were simply ideals of bodily strength and prowess. As the idea of sensuous beauty arose and gradually became refined, the sensuous personification of beauty was exalted to the throne of deity; and hence arose what we might call the religion of art. When men ascended from the sensuous to the purely spiritual, from the beautiful to the good and true, the sum of all moral and intellectual perfection became the object of their adoration, and religion became the province of philosophy.

 
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