--Kahlil Gibran, poet and artist (1883-1931)
(100:4.6) Love is infectious, and when human devotion is intelligent and wise, love is more catching than hate.
(172:1.3) Jesus said: "I am not concerned with such walls of brick and stone; but I would cause the walls of prejudice, self-righteousness, and hate to crumble before this preaching of the Father's love for all men."
(178:1.4) The love call of the spiritual kingdom should prove to be the effective destroyer of the hate urge of the unbelieving and war-minded citizens of the earthly kingdoms.
(188:5.2) True love does not compromise nor condone hate; it destroys it.
(177:4.11) And every mortal man knows full well how love, even when once genuine, can, through disappointment, jealousy, and long-continued resentment, be eventually turned into actual hate.
Gibran Khalil Gibran usually referred to in English as Kahlil Gibran was a Lebanese-American writer, poet and visual artist, also considered a philosopher although he himself rejected the title. He is best known as the author of The Prophet, which was first published in the United States in 1923 and has since become one of the best-selling books of all time, having been translated into more than 100 languages. Born in a village of the Ottoman-ruled Mount Lebanon Mutasarrifate to a Maronite family, the young Gibran immigrated with his mother and siblings to the United States in 1895. As his mother worked as a seamstress, he was enrolled at a school in Boston, where his creative abilities were quickly noticed by a teacher who presented him to photographer and publisher F. Holland Day. Gibran was sent back to his native land by his family at the age of fifteen to enroll at the Collège de la Sagesse in Beirut. Returning to Boston upon his youngest sister's death in 1902, he lost his older half-brother and his mother the following year, seemingly relying afterwards on his remaining sister's income from her work at a dressmaker's shop for some time.
As worded by Suheil Bushrui and Joe Jenkins, Gibran's life has been described as one "often caught between Nietzschean rebellion, Blakean pantheism and Sufi mysticism." Gibran discussed different themes in his writings, and explored diverse literary forms. Salma Khadra Jayyusi has called him "the single most important influence on Arabic poetry and literature during the first half of [the twentieth] century," and he is still celebrated as a literary hero in Lebanon. At the same time, "most of Gibran's paintings expressed his personal vision, incorporating spiritual and mythological symbolism," with art critic Alice Raphael recognizing in the painter a classicist, whose work owed "more to the findings of Da Vinci than it [did] to any modern insurgent." His "prodigious body of work" has been described as "an artistic legacy to people of all nations."
--Sir Philip Sidney (1554-1586)
(34:7.7) Those God-knowing men and women who have been born of the Spirit experience no more conflict with their mortal natures than do the inhabitants of the most normal of worlds, planets which have never been tainted with sin nor touched by rebellion. Faith sons work on intellectual levels and live on spiritual planes far above the conflicts produced by unrestrained or unnatural physical desires. The normal urges of animal beings and the natural appetites and impulses of the physical nature are not in conflict with even the highest spiritual attainment except in the minds of ignorant, mistaught, or unfortunately overconscientious persons.
(47:4.8) Mansonia number two more specifically provides for the removal of all phases of intellectual conflict and for the cure of all varieties of mental disharmony.
(91:8.13) Prayer is not a technique of escape from conflict but rather a stimulus to growth in the very face of conflict.
(103:2.4) Every human being very early experiences something of a conflict between his self-seeking and his altruistic impulses, and many times the first experience of God-consciousness may be attained as the result of seeking for superhuman help in the task of resolving such moral conflicts.
(103:4.1) The atmosphere of the communion provides a refreshing and comforting period of truce in the conflict of the self-seeking ego with the altruistic urge of the indwelling spirit Monitor.
(111:4.11) This is the problem: If freewill man is endowed with the powers of creativity in the inner man, then must we recognize that freewill creativity embraces the potential of freewill destructivity. And when creativity is turned to destructivity, you are face to face with the devastation of evil and sin—oppression, war, and destruction. Evil is a partiality of creativity which tends toward disintegration and eventual destruction. All conflict is evil in that it inhibits the creative function of the inner life—it is a species of civil war in the personality.
Sir Philip Sidney (30 November 1554 – 17 October 1586) was an English poet, courtier, scholar and soldier who is remembered as one of the most prominent figures of the Elizabethan age. His works include Astrophel and Stella, The Defence of Poesy (also known as The Defence of Poetry or An Apology for Poetry) and The Countess of Pembroke's Arcadia.
--David Dunn (From his book -"Try Giving Yourself Away"
(138:8.9) The disciples early learned that the Master had a profound respect and sympathetic regard for every human being he met, and they were tremendously impressed by this uniform and unvarying consideration which he so consistently gave to all sorts of men, women, and children. He would pause in the midst of a profound discourse that he might go out in the road to speak good cheer to a passing woman laden with her burden of body and soul. He would interrupt a serious conference with his apostles to fraternize with an intruding child. Nothing ever seemed so important to Jesus as the individual human who chanced to be in his immediate presence. He was master and teacher, but he was more—he was also a friend and neighbor, an understanding comrade.
(171:7.9) Most of the really important things which Jesus said or did seemed to happen casually, "as he passed by." There was so little of the professional, the well-planned, or the premeditated in the Master's earthly ministry. He dispensed health and scattered happiness naturally and gracefully as he journeyed through life. It was literally true, "He went about doing good."
The door of a bigoted mind opens outwards so that the only result of the pressure of facts upon it is to close it more snugly. --Ogden Nash, poet (1902-1971)
(184:3.14) But Caiaphas could not longer endure the sight of the Master standing there in perfect composure and unbroken silence. He thought he knew at least one way in which the prisoner might be induced to speak. Accordingly, he rushed over to the side of Jesus and, shaking his accusing finger in the Master's face, said: "I adjure you, in the name of the living God, that you tell us whether you are the Deliverer, the Son of God." Jesus answered Caiaphas: "I am. Soon I go to the Father, and presently shall the Son of Man be clothed with power and once more reign over the hosts of heaven."
(184:3.15) When the high priest heard Jesus utter these words, he was exceedingly angry, and rending his outer garments, he exclaimed: "What further need have we of witnesses? Behold, now have you all heard this man's blasphemy. What do you now think should be done with this lawbreaker and blasphemer?" And they all answered in unison, "He is worthy of death; let him be crucified."
Frederic Ogden Nash was an American poet well known for his light verse, of which he wrote over 500 pieces. With his unconventional rhyming schemes, he was declared the country's best-known producer of humorous poetry.
--Jerry Coyne, biology professor (b. 1949)
(42:9.4) The philosophy of the universe cannot be predicated on the observations of so-called science.
[101:2.7] Science ends its reason-search in the hypothesis of a First Cause. Religion does not stop in its flight of faith until it is sure of a God of salvation
--Ann Patchett, writer (b.1963)
(195:6.9) The materialistic sociologist of today surveys a community, makes a report thereon, and leaves the people as he found them. Nineteen hundred years ago, unlearned Galileans surveyed Jesus giving his life as a spiritual contribution to man's inner experience and then went out and turned the whole Roman Empire upside down.
Ann Patchett is an American author. She received the 2002 PEN/Faulkner Award and the Orange Prize for Fiction in the same year, for her novel Bel Canto. Patchett's other novels include The Patron Saint of Liars (1992), Taft (1994), The Magician's Assistant (1997), Run (2007), State of Wonder (2011), Commonwealth (2016), and The Dutch House (2019).The Dutch House was a finalist for the 2020 Pulitzer Prize for Fiction.
--James Baldwin, writer (1924-1987)
(71:3.3-6) The ideal state functions under the impulse of three mighty and co-ordinated drives:
1. Love loyalty derived from the realization of human brotherhood.
2. Intelligent patriotism based on wise ideals.
3. Cosmic insight interpreted in terms of planetary facts, needs, and goals.
(81:6.35) No national civilization long endures unless its educational methods and religious ideals inspire a high type of intelligent patriotism and national devotion. Without this sort of intelligent patriotism and cultural solidarity, all nations tend to disintegrate as a result of provincial jealousies and local self-interests.
James Arthur Baldwin was an American novelist, playwright, essayist, poet, and activist. His essays, as collected in Notes of a Native Son (1955), explore intricacies of racial, sexual, and class distinctions in Western societies, but most notably in mid-20th-century North America. Some of Baldwin's essays are book-length, including The Fire Next Time (1963), No Name in the Street (1972), and The Devil Finds Work (1976). An unfinished manuscript, Remember This House, was expanded and adapted for cinema as the Academy Award–nominated documentary film I Am Not Your Negro. One of his novels, If Beale Street Could Talk, was adapted into an Academy Award-winning dramatic film in 2018 directed and produced by filmmaker Barry Jenkins.
Baldwin's novels, short stories, and plays fictionalize fundamental personal questions and dilemmas amid complex social and psychological pressures. Themes of masculinity, sexuality, race, and class intertwine to create complex narratives that run parallel with some of the major political movements towards social change in mid-twentieth century America, such as the Civil Rights Movement and the Gay Liberation Movement. Baldwin's titular characters are often, but not exclusively, African American. Gay and bisexual men also frequently feature as protagonists in his literature. These characters often face internal and external obstacles in their search for societal and self-acceptance. Such dynamics are prominent in Baldwin's second novel, Giovanni's Room, written in 1956, well before the Gay Liberation Movement.
--George Bernard Shaw, writer, Nobel laureate (1856-1950)
(168:3.3) Time and again had this august body of Jewish leaders decreed that Jesus be apprehended and brought to trial on charges of blasphemy and numerous other accusations of flouting the Jewish sacred law.
(184:3.1) On three previous occasions the Sanhedrin, by a large majority vote, had decreed the death of Jesus, had decided that he was worthy of death on informal charges of lawbreaking, blasphemy, and flouting the traditions of the fathers of Israel.
(184:3.15) Behold, now have you all heard this man's blasphemy. What do you now think should be done with this lawbreaker and blasphemer?" And they all answered in unison, "He is worthy of death; let him be crucified."
(184:5.7) The only point the court could have consistently judged him on was that of blasphemy, and that would have rested entirely on his own testimony. Even concerning blasphemy, they failed to cast a formal ballot for the death sentence.
(186:2.7) When before Caiaphas, and when all the perjured testimony had broken down, Jesus did not hesitate to answer the question of the chief priest, thereby providing in his own testimony that which they desired as a basis for convicting him of blasphemy.
George Bernard Shaw known at his insistence simply as Bernard Shaw, was an Irish playwright, critic, polemicist and political activist. His influence on Western theatre, culture and politics extended from the 1880s to his death and beyond. He wrote more than sixty plays, including major works such as Man and Superman (1902), Pygmalion (1912) and Saint Joan (1923). With a range incorporating both contemporary satire and historical allegory, Shaw became the leading dramatist of his generation, and in 1925 was awarded the Nobel Prize in Literature.
Born in Dublin, Shaw moved to London in 1876, where he struggled to establish himself as a writer and novelist, and embarked on a rigorous process of self-education. By the mid-1880s he had become a respected theatre and music critic. Following a political awakening, he joined the gradualist Fabian Society and became its most prominent pamphleteer. Shaw had been writing plays for years before his first public success, Arms and the Man in 1894. Influenced by Henrik Ibsen, he sought to introduce a new realism into English-language drama, using his plays as vehicles to disseminate his political, social and religious ideas. By the early twentieth century his reputation as a dramatist was secured with a series of critical and popular successes that included Major Barbara, The Doctor's Dilemma and Caesar and Cleopatra.
Shaw's expressed views were often contentious; he promoted eugenics and alphabet reform, and opposed vaccination and organised religion. He courted unpopularity by denouncing both sides in the First World War as equally culpable, and although not a republican, castigated British policy on Ireland in the postwar period. These stances had no lasting effect on his standing or productivity as a dramatist; the inter-war years saw a series of often ambitious plays, which achieved varying degrees of popular success. In 1938 he provided the screenplay for a filmed version of Pygmalion for which he received an Academy Award. His appetite for politics and controversy remained undiminished; by the late 1920s he had largely renounced Fabian Society gradualism and often wrote and spoke favourably of dictatorships of the right and left—he expressed admiration for both Mussolini and Stalin. In the final decade of his life he made fewer public statements, but continued to write prolifically until shortly before his death, aged ninety-four, having refused all state honours, including the Order of Merit in 1946.
Since Shaw's death scholarly and critical opinion about his works has varied, but he has regularly been rated among British dramatists as second only to Shakespeare; analysts recognise his extensive influence on generations of English-language playwrights. The word Shavian has entered the language as encapsulating Shaw's ideas and his means of expressing them.
--Louisa May Alcott, writer and reformist (1832-1888)
(174:3.5) The Sadducees had thought to subject Jesus to the withering influence of ridicule, knowing full well that persecution in public would most certainly create further sympathy for him in the minds of the multitude.
(182:3.5) During the years that Jesus lived among his followers, they did, indeed, have much proof of his divine nature, but just now are they about to witness new evidences of his humanity. Just before the greatest of all the revelations of his divinity, his resurrection, must now come the greatest proofs of his mortal nature, his humiliation and crucifixion.
(184:4.1) The Jewish law required that, in the matter of passing the death sentence, there should be two sessions of the court. This second session was to be held on the day following the first, and the intervening time was to be spent in fasting and mourning by the members of the court. But these men could not await the next day for the confirmation of their decision that Jesus must die. They waited only one hour. In the meantime Jesus was left in the audience chamber in the custody of the temple guards, who, with the servants of the high priest, amused themselves by heaping every sort of indignity upon the Son of Man. They mocked him, spit upon him, and cruelly buffeted him. They would strike him in the face with a rod and then say, "Prophesy to us, you the Deliverer, who it was that struck you." And thus they went on for one full hour, reviling and mistreating this unresisting man of Galilee.
(188:5.6) The triumph of the death on the cross is all summed up in the spirit of Jesus' attitude toward those who assailed him. He made the cross an eternal symbol of the triumph of love over hate and the victory of truth over evil when he prayed, "Father, forgive them, for they know not what they do." That devotion of love was contagious throughout a vast universe; the disciples caught it from their Master. The very first teacher of his gospel who was called upon to lay down his life in this service, said, as they stoned him to death, "Lay not this sin to their charge."
(190:0.2) All this power which is inherent in Jesus—the endowment of life—and which enabled him to rise from the dead, is the very gift of eternal life which he bestows upon kingdom believers, and which even now makes certain their resurrection from the bonds of natural death.
Louisa May Alcott was an American novelist, short story writer and poet best known as the author of the novel Little Women (1868) and its sequels Little Men (1871) and Jo's Boys (1886). Raised in New England by her transcendentalist parents, Abigail May and Amos Bronson Alcott, she grew up among many of the well-known intellectuals of the day, such as Ralph Waldo Emerson, Nathaniel Hawthorne, Henry David Thoreau, and Henry Wadsworth Longfellow.
Alcott's family suffered from financial difficulties, and while she worked to help support the family from an early age, she also sought an outlet in writing. She began to receive critical success for her writing in the 1860s. Early in her career, she sometimes used the pen name A. M. Barnard, under which she wrote novels for young adults that focused on spies and revenge.
Published in 1868, Little Women is set in the Alcott family home, Orchard House, in Concord, Massachusetts, and is loosely based on Alcott's childhood experiences with her three sisters, Abigail May Alcott Nieriker, Elizabeth Sewall Alcott, and Anna Alcott Pratt. The novel was well-received at the time and is still popular today among both children and adults. It has been adapted many times to the stage, film, and television.
Alcott was an abolitionist and a feminist and remained unmarried throughout her life. All her life she was active in such reform movements as temperance and women's suffrage. She died from a stroke, two days after her father died, in Boston on March 6, 1888.
--Emma Lazarus, poet and playwright (1849-1887)
(163:6.7) I always stand near, and my invitation-call is, and ever shall be, Come to me all you who labor and are heavy laden, and I will give you rest. Take my yoke upon you and learn of me, for I am true and loyal, and you shall find spiritual rest for your souls."
(191:6.2) Peace be upon you. That which my Father sent me into the world to establish belongs not to a race, a nation, nor to a special group of teachers or preachers. This gospel of the kingdom belongs to both Jew and gentile, to rich and poor, to free and bond, to male and female, even to the little children. And you are all to proclaim this gospel of love and truth by the lives which you live in the flesh. You shall love one another with a new and startling affection, even as I have loved you. You will serve mankind with a new and amazing devotion, even as I have served you. And when men see you so love them, and when they behold how fervently you serve them, they will perceive that you have become faith-fellows of the kingdom of heaven, and they will follow after the Spirit of Truth which they see in your lives, to the finding of eternal salvation.
Emma Lazarus was an American author of poetry, prose, and translations, as well as an activist for Jewish causes. She wrote the sonnet "The New Colossus" in 1883. Its lines appear inscribed on a bronze plaque, installed in 1903, on the pedestal of the Statue of Liberty. The last stanza of the sonnet was set to music by Irving Berlin as the song "Give Me Your Tired, Your Poor" for the 1949 musical Miss Liberty, which was based on the sculpting of the Statue of Liberty (Liberty Enlightening the World). The last stanza was also set by Lee Hoiby in his song "The Lady of the Harbor" written in 1985 as part of his song cycle "Three Women".
The Urantia Book Fellowship, Inc. is a 501(c)3 non-profit organization. P.O. Box 6631, Broomfield, CO 80021, USA 1-303-467-7858 ©