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Randall Jarrell

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She would have come from Paradise and complained to God that the apple wasn’t a winesap at all, but a great big pulpy Washington Delicious; and after the Ark she would have said that there had not been the animals, the spring rains, and the nice long ocean-voyage the prospectus from the travel agency had led her to expect—and that she had been most disappointed at not finding on Mount Ararat Prometheus.
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Chapter 1, p. 9

 
Randall Jarrell

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The United States was losing interest in preserving European security, but at the same time it was hostile to European aspirations to take on the task themselves. Europeans complained about American perfidy, and Americans complained about European weakness and ingratitude. (Of Paradise and Power, p. 43)

 
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Perhaps because of my fever, perhaps because of my lofty pain, I imagine that some one there is declaiming a great poem, that some one is speaking of Prometheus. He has stolen light from the gods. In his entrails he feels the pain, always beginning again, always fresh, gathering from evening to evening, when the vulture steals to him as it would steal to its nest. And you feel that we are all like Prometheus because of desire, but there is neither vulture nor gods.
There is no paradise except that which we create in the great tomb of the churches. There is no hell, no inferno except the frenzy of living.
There is no mysterious fire. I have stolen the truth. I have stolen the whole truth. I have seen sacred things, tragic things, pure things, and I was right. I have seen shameful things, and I was right. And so I have entered the kingdom of truth, if, while preserving respect to truth and without soiling it, we can use the expression that deceit and religious blasphemy employ.

 
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Civilization begins with a rebellion. Prometheus, one of the Titans, steals fire from the gods on Mount Olympus and brings it as a gift to man, marking the birth of human culture. For this rebellion Zeus sentences him to be chained to Mount Caucasus where vultures consume his liver during the day and at night it grows back only to be again eaten away the next day. This is a tale of the agony of the creative individual, whose nightly rest only resuscitates him so that he can endure his agonies the next day.

 
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Washington had no smashing, stunning victories. He was not a military genius, and his tactical and strategic maneuvers were not the sort that awed men. Military glory was not the source of his reputation. Something else was involved. Washington's genius, his greatness, lay in his character. He was, as Chateubriand said, a "hero of unprecedented kind." There had never been a great many like Washington before. Washington became a great man and was acclaimed as a classical hero because of the way he conducted himself during times of temptation. It was his moral character that set him off from other men.
Washington fit the 18th-century image of a great man, of a man of virtue. This virtue was not given to him by nature. He had to work for it, to cultivate it, and everyone sensed that. Washington was a self-made hero, and this impressed an 18th-century enlightened world that put great stock in men controlling both their passions and their destinies. Washington seemed to possess a self-cultivated nobility.

 
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