Why did he not watch the devil, instead of watching Adam and Eve? Instead of turning them out, why did he not keep him from getting in? Why did he not have his flood first, and drown the devil, before he made a man and woman. And yet, people who call themselves intelligent-professors in colleges and presidents of venerable institutions-teach children and young men that the Garden of Eden story is an absolute historical fact. I defy any man to think of a more childish thing. This God, waiting around Eden-knowing all the while what would happen-having made them on purpose so that it would happen, then does what? Holds all of us responsible, and we were not there.
Robert G. IngersollRelated topics
adam call children devil eden eve flood garden getting historical men man purpose story thing turning waiting watch watching while woman yet youngRelated quotes
I'm waiting. ... For something new and strange,
Something I've dreamt about in some deep sleep,
Truer than any waking,
Heard about, long ago, so long ago,
In sunshine and the summer grass of childhood,
When the sky seems so near.
I do not know its shape, its will, its purpose
And yet all day its will has been upon me,
More real than any voice I ever heard,
More real than yours or mine or our dead child's,
More real than all the voices there upstairs,
Brawling above their cups, more real than light.
And there is light in it and fire and peace,
Newness of heart and strangeness like a sword,
And all my body trembles under it,
And yet I do not know.
Stephen Vincent Benét
Steward (Spade): [sarcastically ushering passangers off of the plane] Buh-bye. Buh-bye. Buh-Bye [to a fat passanger]Buh-bye. You're very heavy.
Fat Passanger (Chris Farley): What did you say?
Steward: I said buh-bye! I just said buh-bye 40 times in a row why would I say anything else? It doesn't make sense! Did I just say something without knowing it? No! Go! Buh-bye!
Passenger (Adam Sandler): I'm gonna be waiting for you outside in the terminal.
Steward: Great, buh-bye.
Passenger: No, no, no, there's more. I'm gonna pound your face in.
Steward: Okay, Slick. Buh-bye!
Passenger: I'm gonna destroy you!
Steward: Buh-BYE!
Passenger: I am gonna KICK THE CRAP OUTTA YOU!
Steward: YEAH?! BUH-BYE!
David Spade
Julian read the Bible as if it were a work of contemporary fiction, open to criticism or even revision. Once, when I queried him about the purpose of his unusual reinterpretations, he said to me, "I want a better Bible, Adam. I want a Bible in which the Fruit of Knowledge contains the Seeds of Wisdom, and makes life more pleasurable for mankind, not worse. I want a Bible in which Isaac leaps up from the sacrificial stone and chokes the life out of Abraham, to punish him for the abject and bloody sin of Obedience. I want a Bible in which Lazarus is dead and stubborn about it, rather than standing to attention at the beck and call of every passing Messiah.”.
Robert Charles Wilson
Josh's actions when he was an underage teen are as he described them himself, 'inexcusable,' but that doesn't mean 'unforgivable.' He and his family dealt with it and were honest and open about it with the victims and the authorities. No purpose whatsoever is served by those who are now trying to discredit Josh or his family by sensationalizing the story. Good people make mistakes and do regrettable and even disgusting things. [...] They are no more perfect a family than any family, but their Christian witness is not marred in our eyes because following Christ is not a declaration of our perfection, but of HIS perfection. [...] Let others run from them. We will run to them with our support.
Mike Huckabee
As the glossaries lengthen, as the footnotes become more elementary and didactic, the poem, the epic, the drama, move out of balance on the actual page. As even the more rudimentary of mythological, religious or historical references, which form the grammar of Western literature, have to be elucidated, the lines of Spenser, of Pope, of Shelley or of Sweeney Among the Nightingales, blur away from immediacy. Where it is necessary to annotate every proper name and classical allusion in the dialogue between Jessica and Lorenzo in the garden at Belmont, or in Iachimo's stealthy rhetoric when he emerges in Imogen's bedchamber, these marvellous spontaneities of enacted feeling become "literary" and twice-removed.
George Steiner