[85951] in Discussion of MIT-community interests
August Specials on Home Solar Panels
daemon@ATHENA.MIT.EDU (Solar Rebates)
Tue Aug 2 23:11:49 2016
Date: Tue, 2 Aug 2016 22:53:40 -0400
From: "Solar Rebates" <solar-rebates@ezeeesingle.com>
To: <mit-talk-mtg@charon.mit.edu>
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<title>August Specials on Home Solar Panels</title>=20
<h1>August Specials on Home Solar Panels</h1>=20
<p>Solar installation is more affordable than ever. You can save 30 perce=
nt with federal rebates, and when you make the change to Solar, you can cut=
your electric bill up to 80 percent. Plus you may be eligible to get start=
ed without any up front costs.</p>=20
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<p>August Specials on Home Solar Panels<br /> Fixity in the midst of cha=
nge, fluctuation at the heart of sameness, such is the estate of language. =
According as they endeavour to reduce letters to some large haven and abidi=
ng-place of civility, or prefer to throw in their lot with the centrifugal =
tendency and ride on the flying crest of change, are writers dubbed Classic=
or Romantic. The Romantics are individualist, anarchic; the strains of the=
ir passionate incantation raise no cities to confront the wilderness in gua=
rded symmetry, but rather bring the stars shooting from their spheres, and =
draw wild things captive to a voice. To them Society and Law seem dull phan=
toms, by the light cast from a flaming soul. They dwell apart, and torture =
their lives in the effort to attain to self-expression. All means and modes=
offered them by language they seize on greedily, and shape them to this on=
e end; they ransack the vocabulary of new sciences, and appropriate or inve=
nt strange jargons. They furbish up old words or weld together new indiffer=
ently, that they may possess the machinery of their speech and not be posse=
ssed by it. They are at odds with the idiom of their country in that it ser=
ves the common need, and hunt it through all its metamorphoses to subject i=
t to their private will. Heretics by profession, they are everywhere oppose=
d to the party of the Classics, who move by slower ways to ends less person=
al, but in no wise easier of attainment. The magnanimity of the Classic ide=
al has had scant justice done to it by modern criticism. To make literature=
the crowning symbol of a world-wide civilisation; to roof in the ages, and=
unite the elect of all time in the courtesy of one shining assembly, payin=
g duty to one unquestioned code; to undo the work of Babel, and knit togeth=
er in a single community the scattered efforts of mankind towards order and=
reason; --this was surely an aim worthy of labour and sacrifice. Both have=
been freely given, and the end is yet to seek. The self-assertion of the r=
ecusants has found eulogists in plenty, but who has celebrated the self-den=
ial that was thrown away on this other task, which is farther from fulfilme=
nt now than it was when the scholars of the Renaissance gave up their patri=
otism and the tongue of their childhood in the name of fellow-citizenship w=
ith the ancients and the oecumenical authority of letters? Scholars, gramma=
rians, wits, and poets were content to bury the lustre of their wisdom and =
the hard-won fruits of their toil in the winding-sheet of a dead language, =
that they might be numbered with the family of Cicero, and added to the pio=
us train of Virgil. It was a noble illusion, doomed to failure, the versati=
le genius of language cried out against the monotony of their Utopia, and t=
he crowds who were to people the unbuilded city of their dreams went strayi=
ng after the feathered chiefs of the rebels, who, when the fulness of time =
was come, themselves received apotheosis and the honours of a new motley pa=
ntheon. The tomb of that great vision bears for epitaph the ironical inscri=
ption which defines a Classic poet as "a dead Romantic." In truth=
the Romantics are right, and the serenity of the classic ideal is the sere=
nity of paralysis and death. A universal agreement in the use of words faci=
litates communication, but, so inextricably is expression entangled with fe=
eling, it leaves nothing to communicate. Inanity dogs the footsteps of the =
classic tradition, which is everywhere lackeyed, through a long decline, by=
the pallor of reflected glories. Even the irresistible novelty of personal=
experience is dulled by being cast in the old matrix, and the man who prof=
esses to find the whole of himself in the Bible or in Shakespeare had as go=
od not be. He is a replica and a shadow, a foolish libel on his Creator, wh=
o, from the beginning of time, was never guilty of tautology. This is the e=
rror of the classical creed, to imagine that in a fleeting world, where the=
quickest eye can never see the same thing twice, and a deed once done can =
never be repeated, language alone should be capable of fixity and finality.=
Nature avenges herself on those who would thus make her prisoner, their tr=
uths degenerate to truisms, and feeling dies in the ice-palaces that they b=
uild to house it. In their search for permanence they become unreal, abstra=
ct, didactic, lovers of generalisation, cherishers of the dry bones of life=
; their art is transformed into a science, their expression into an academi=
c terminology. Immutability is their ideal, and they find it in the arms of=
death. Words must change to live, and a word once fixed becomes useless fo=
r the purposes of art. Whosoever would make acquaintance with the goal towa=
rds which the classic practice tends, should seek it in the vocabulary of t=
he Sciences. There words are fixed and dead, a botanical collection of colo=
urless, scentless, dried weeds, a hortus siccus of proper names, each indiv=
idual symbol poorly tethered to some single object or idea. No wind blows t=
hrough that garden, and no sun shines on it, to discompose the melancholy w=
orkers at their task of tying Latin labels on to withered sticks. Definitio=
n and division are the watchwords of science, where art is all for composit=
ion and creation. Not that the exact definable sense of a word is of no val=
ue to the stylist; he profits by it as a painter profits by a study of anat=
omy, or an architect by a knowledge of the strains and stresses that may be=
put on his material. The exact logical definition is often necessary for t=
he structure of his thought and the ordering of his severer argument. But o=
ften, too, it is the merest beginning; when a word is once defined he overl=
ays it with fresh associations and buries it under new-found moral signific=
ances, which may belie the definition they conceal. This is the burden of J=
eremy Bentham's quarrel with "question-begging appellatives." A c=
lear-sighted and scrupulously veracious philosopher, abettor of the age of =
reason, apostle of utility, god- father of the panopticon, and donor to the=
English dictionary of such unimpassioned vocables as "codification&qu=
ot; and "international," Bentham would have been glad to purify t=
he language by purging it of those "affections of the soul" where=
in Burke had found its highest glory. Yet in censuring the ordinary politic=
al usage of such a word as "innovation," it was hardly prejudice =
in general that he attacked, but the particular and deep-seated prejudice a=
gainst novelty. The surprising vivacity of many of his own figures,--althou=
gh he had the courage of his convictions, and laboured, throughout the cour=
se of a long life, to desiccate his style,--bears witness to a natural skil=
l in the use of loaded weapons. He will pack his text with grave argument o=
n matters ecclesiastical, and indulge himself and literature, in the notes =
with a pleasant description of the flesh and the spirit playing leap-frog, =
now one up, now the other, around the holy precincts of the Church. Lapses =
like these show him far enough from his own ideal of a geometric fixity in =
the use of words. The claim of reason and logic to enslave language has a m=
ore modern advocate in the philosopher who denies all utility to a word whi=
le it retains traces of its primary sensuous employ. The tickling of the se=
nses, the raising of the passions, these things do indeed interfere with th=
e arid business of definition. None the less they are the life's breath of =
literature, and he is a poor stylist who cannot beg half- a-dozen questions=
in a single epithet, or state the conclusion he would fain avoid in terms =
that startle the senses into clamorous revolt. The two main processes of ch=
ange in words are Distinction and Assimilation. Endless fresh distinction, =
to match the infinite complexity of things, is the concern of the writer, w=
ho spends all his skill on the endeavour to cloth the delicacies of percept=
ion and thought with a neatly fitting garment. So words grow and bifurcate,=
diverge and dwindle, until one root has many branches. Grammarians tell ho=
w "royal" and "regal" grew up by the side of "king=
ly," how "hospital," "hospice," "hostel"=
and "hotel" have come by their several offices. The inventor of =
the word "sensuous" gave to the English people an opportunity of =
reconsidering those headstrong moral preoccupations which had already ruine=
d the meaning of "sensual" for the gentler uses of a poet. Not on=
ly the Puritan spirit, but every special bias or interest of man seizes on =
words to appropriate them to itself. Practical men of business transfer suc=
h words as "debenture" or "commodity" from debt or comf=
ort in general to the palpable concrete symbols of debt or comfort; and in =
like manlier doctors, soldiers, lawyers, shipmen,-- all whose interest and =
knowledge are centred on some particular craft or profession, drag words fr=
om the general store and adapt them to special uses. Such words are sometim=
es reclaimed from their partial applications by the authority of men of let=
ters, and pass back into their wider meanings enhanced by a new element of =
graphic association. Language never suffers by answering to an intelligent =
demand; it is indebted not only to great authors, but to all whom any speci=
al skill or taste has qualified to handle it. The good writer may be one wh=
o disclaims all literary pretension, but there he is, at work among words,-=
-binding the vagabond or liberating the prisoner, exalting the humble or ab=
ashing the presumptuous, incessantly alert to amend their implications, bre=
ak their lazy habits, and help them to refinement or scope or decision. He =
educates words, for he knows that they are alive.</p>=20
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