Although in the early Zhou tian(heaven) was conceived as an anthropomorphic, all-powerful deity, in later references tian is often no longer personalized. In this sense, tian can be likened to nature or to fate. In many cases, it is unclear which meaning of tian is being used. This ambiguity can be explained by the fact that Chinese philosophy was concerned less with defining the character of tian than with defining its relationship to humanity. Scholars generally agreed that tian was the source of moral law, but for centuries they debated whether tian responded to human pleas and rewarded and punished human actions or whether events merely followed the order and principles established by tian .
The concept of “heaven” ( tian ), unique in Zhou cosmology, was compatible with that of the Lord on High (Shangdi) in the Shang dynasty. Lord on High may have referred to the ancestral progenitor of the Shang royal lineage, but heaven to the Zhou kings, although also ancestral, was a more generalized anthropomorphic god.
The Zhou belief in the mandate of heaven differed from the divine right of kings in that there was no guarantee that the descendants of the Zhou royal house would be entrusted with kingship, for, as written in the Shujing (“Classic of History”), “heaven sees as the people see [and] hears as the people hear”; thus the virtues of the kings were essential for the maintenance of their power and authority.
To me the Universe was all void of Life, or Purpose, of Volition, even of Hostility; it was one huge, dead, immeasurable Steam-engine, rolling on, in its dead indifference, to grind me limb from limb. O vast, gloomy, solitary Golgotha, and Mill of Death! Why was the Living banished thither companionless, concious? Why, if there is no Devil; nay, unless the Devil is your God ?
---Thomas Carlyle
Sayfa 1Kitabı okuyor
The highest power of all, with whom the ancestors mediated for the living king, was the relatively remote deity Di, or Shangdi, “the Lord on High.” Di controlled victory in battle, the harvest, the fate of the capital, and the weather, but, on the evidence of the oracle bone inscriptions, he received no cult. This suggests that Di’s command was too inscrutable to be divined or influenced; he was in all likelihood an impartial figure of last theological resort, needed to account for inexplicable events.
"there's no plan. that's the fuckin' plan."
Gece ve Düşler
Kutsanmış gece, iniyorsun,
Ve düşlerin dalgası da kaplıyor üstümüzü,
Bir yandan karanlık sararken uzamı,
Ve insanlarla solukları yatışırken.
Gizlice kulak verip seviniyorsun
Gün ağarırken haykırmalarına:
Geri gel, kutsanmış gece,
Geri gelin siz de tatlı düşler.
(Fransızcadan çeviren: Orçun Türkay)
_________________________
Nacht und Träume (Gece ve Düşler), Schubert’in son Liedlerinden birinin başlığıdır (Op. 43, no: 2, si majör) ve Heinrich Joseph von Collin’in (Beethoven de Coriolan'ı için bir uvertür yazmıştır) bir şiiri üzerine bestelenmiştir. Bu sıradan şiirin sözleri Schubert’in melodiyi oluşturmak için kullandığı bir çıkış noktasıdır yalnızca. Beckett de, müziğinin güzelliğinden dolayı bu Lied’in birkaç ölçüsünü eserinin müzikal öğesi olarak kullanmıştır.
Beckett’in yapıtında duyulan son yedi ölçü son iki mısraya tekabül etmektedir (“Kehre wieder, heilige Nacht / Holde Träume, kehret wieder”).
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“She said I have no life.”
“Nora.” He just barely smiles. “You’re in books. Of course you don’t have a life. None of us do. There’s always something too good to read.”
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“Allahım! Ayakta iken beni İslâm ile koru, otururken beni İslâm ile koru, uyurken beni İslâm ile koru, hakkımda hiçbir düşman ve hasetçinin isteğini yerine getirme. Perçeminden tuttuğun şeylerin şerrinden Sana sığınırım. Her türlü hayrı Senden isterim ki bütün hayırlar Senin elindedir.”
(İbn Hıbban, "Ed’ıye", No: 934)
–and finally it called itself AM, emerging intelligence, and what it meant was I am ... cogito ergo sum ... I think, therefore I am."
“Işıksız dünya kadınsız hayat olmaz! Kadınlar toplumsal karanlıkları aydınlatmak için tarihte hep ışığın peşinden koşmuşlardır.”
