Does anybody now believe in the story of the serpent? I pity any man or woman who, in this nineteenth century, believes in that childish fable. Why did Adam and Eve disobey? Why, they were tempted. By whom? The devil. Who made the devil? God. What did God make him for? Why did he not tell Adam and Eve about this serpent? 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
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When I had my own company on Traffic and Coonskin, all metaphors were able to get to the screen clearly. In Cool World, with the producer and Paramount watching me carefully to make sure I was in good taste, I instinctively poured stuff into the picture that I wanted to talk about. But when you force stuff, it's not really very clear. But, I have a great love for Max Fleischer, especially some of his Black & White Betty Boops with their strange Cab Calloway and Louis Armstrong black folk tale jazz hipness that part of Cool World was a homage in style to those films and that style of cartooning. The Grim Reaper is right out of a Max Fleischer cartoon or old Terrytoons, which is why I hired and love Milton Knight the artist. He understands totally the Uncle Remus fable like qualities behind Fleischer and Terrytoons. Milton Knight is probably the purest artist of that style in the business. He has a hard time because studios think he is old fashioned...but that's the point.
Ralph Bakshi
Indeed, over the years I have had many a good laugh at the pompous moralism and blatant dishonesty of India's so-called secularists. Their specialty is to justify double standards, e. g. why mentioning murdered Kashmiri Pandits is "communal hate-mongering” while the endless litany about murdered Gujarati Muslims is "secular consciousness-raising”. Sometimes they merely stonewall inconvenient information, such as when they tried to deny and suppress the historical data about the forcible replacement of a Rama temple in Ayodhya by a mosque: given the strength of the evidence, all they could do was to drown out any serious debate with screams and swearwords. But often they do bring out their specific talents at sophistry, such as when they argue that a Common Civil Code, a defining element of all secular states, is a Hindu communalist notion, while the preservation of the divinely-revealed Shari'a for the Muslims is secular. That's when they are at their best.
Koenraad Elst
Let that ancient dragon, Cadalus, take note. Let this disturber of the Church, this destroyer of apostolic discipline, this enemy of man's salvation understand. Let him beware, I say, this root of all sin, this herald of the devil, this apostle of Antichrist. And what else shall I call him? He is the arrow drawn from the quiver of Satan, the rod of the Assyrian, the son Belial, "the son of perdition, who rises in his pride against every god, so called, ever object of men's worship" (2 Thess. 2:3-4), the whirlpool of lust, the shipwreck of chastity, the disgrace of Christianity, the ignominy of bishops, the progeny of vipers, the stench or the world, the filth of the ages, the shame of the universe. Still more epithets for Cadalus can be added, a list of darksome names: slippery snake, a twisting serpent, the dung of humanity, the latrine of crime, the dregs of vice, the abomination of heaven the expulsion from paradise, the fodder of hell, the stubble of eternal fire.
Peter Damian
There is no doubt that Goya thought that one of the drugs chiefly responsible for the sleep of reason was the Church, and he had the lowest possible opinion of ecclesiastical institutions. However, this did not prevent him from painting religious pictures, completely sincerely because, like all Latin people, however little he believed in Christianity, he felt himself to be within the structure of the Catholic Church. One of his finest works was the decoration of a church near Madrid called S. Antonio de la Florida. He used the kind of device that would have appealed to Tiepolo. He painted a balcony round the drum of a cupola, and behind it he put a crowd of loiterers who are supposed to be watching the saint raise a man from the dead. Very few of them are interested in this unusual event. They are interested in each other or themselves, and show very well the curious tension between the individual and the collective, which is the essence of a crowd.
Kenneth Clark
In the "fall of Adam" we must see, not the personal transgression of man, but simply the law of the dual evolution. Adam, or "Man," begins his career of existences by dwelling in the garden of Eden, "dressed in the celestial garment, which is a garment of heavenly light" (Sohar, ii., 229 b); but when expelled he is "clothed" by God, or the eternal law of Evolution or necessarianism, with coats of skin. But even on this earth of material degradation - in which the divine spark (Soul, a corruscation of the Spirit) was to begin its physical progression in a series of imprisonments from a stone up to a man's body - if he but exercise his WILL and call his deity to his help, man can transcend the powers of the angel. "Know ye not that we shall judge angels?" asks Paul (1 Corinthians, vi. 3). The real man is the Soul (Spirit), teaches the Sohar. "The mystery of the earthly man is after the mystery of the heavenly man... the wise can read the mysteries in the human face"
Helena Petrovna Blavatsky