Glendower: I can call spirits from the vasty deep.
Hotspur: Why, so can I, or so can any man; But will they come when you do call for them?

O God, I could be bounded in a nutshell and count myself a King of infinite space.

Instructions on how to cry

Putting the reasons for crying aside for the moment, we might concentrate on the correct way to cry, which, be it understood, means a weeping that doesn't turn into a big commotion nor proves an affront to the smile with its parallel and dull similarity. The average, everyday weeping consists of a general contraction of the face and a spasmodic sound accompanied by tears and mucus, this last toward the end, since the cry ends at the point when one energetically blows one's nose.

In order to cry, steer the imagination toward yourself, and if this proves impossible owing to having contracted the habit of believing in the exterior world, think of a duck covered with ants or of those gulfs in the Strait of Magellan into which no one sails, ever.

Coming to the weeping itself, cover the face decorously, using both hands, palms inward. Children are to cry with the sleeve of the dress or shirt pressed against the face, preferably in a corner of the room. Average duration of the cry, three minutes.

Instrucciones para llorar

Instrucciones para llorar. Dejando de lado los motivos, atengámonos a la manera correcta de llorar, entendiendo por esto un llanto que no ingrese en el escándalo, ni que insulte a la sonrisa con su paralela y torpe semejanza. El llanto medio u ordinario consiste en una contracción general del rostro y un sonido espasmódico acompañado de lágrimas y mocos, estos últimos al final, pues el llanto se acaba en el momento en que uno se suena enérgicamente.

Para llorar, dirija la imaginación hacia usted mismo, y si esto le resulta imposible por haber contraído el hábito de creer en el mundo exterior, piense en un pato cubierto de hormigas o en esos golfos del estrecho de Magallanes en los que no entra nadie, nunca.

Llegado el llanto, se tapará con decoro el rostro usando ambas manos con la palma hacia adentro. Los niños llorarán con la manga del saco contra la cara, y de preferencia en un rincón del cuarto. Duración media del llanto, tres minutos.

When the Sphere visits Flatland right at the auspicious moment of transition into the third millennium at the inception of the year 2000, he first tries to teach A Square about the third dimension by verbal argument. But A Square cannot comprehend such an expanded universe of higher dimensionality, so the Sphere tears him from the plane of Flatland and treats him to a view of his entire universe from “above” (a dimension previously inconceivable to A Square). Of course, A Square has learned the shapes of buildings and compatriots in his 2-D world, but he can resolve these forms only by laboriously working his way around their perimeters and measuring their sides and angles. From his new vantage point above his old world, however, A Square can see the entire form of each Flatland object all at once—a wondrously new vision that he can conceive and express only as seeing the “invisible inside” of things in one grand, full, and instantaneous view.

The vastness of the heavens stretches my imagination—stuck on this carousel my little eye can catch one-million-year-old light. A vast pattern—of which I am a part—perhaps my stuff was belched from some forgotten star, as one is belching there. Or see them with the greater eye of Palomar, rushing all apart from some common starting point when they were perhaps all together.

But this Lujanera I mentioned, who was Rosendo's woman, she outdid'em all, and by a good long ways. La Lujanera's dead now, señor, and I have to admit that sometimes whole years go by that I don't think about her, but you ought to have seen her in her time, with those eyes of hers. Seein' her wouldn't put a man to sleep, and that's for sure.

Pero la Lujanera, que era la mujer de Rosendo, las sobraba lejos a todas. Se murió, señor, y digo que hay años en que ni pienso en ella, pero había que verla en sus días, con esos ojos. Verla, no daba sueño.

It's nice when grown people whisper to each other under the covers. Their ecstasy is more leaf-sigh than bray and the body is the vehicle, not the point. They reach, grown people, for something beyond, way beyond and way, way down underneath tissue.

If a piece of steel or a piece of salt, consisting of atoms one next to the other, can have such interesting properties; if water—which is nothing but these little blobs, mile upon mile of the same thing over the earth—can form waves and foam, and make rushing noises and strange patterns as it runs over cement; if all of this, all the life of a stream of water, can be nothing but a pile of atoms, how much more is possible? If instead of arranging the atoms in some definite pattern, again and again repeated, on and on, or even forming little lumps of complexity like the odor of violets, we make an arrangement which is always different from place to place, with different kinds of atoms arranged in many ways, continually changing, not repeating, how much more marvelously is it possible that this thing might behave? Is it possible that that “thing” walking back and forth in front of you, talking to you, is a great glob of these atoms in a very complex arrangement, such that the sheer complexity of it staggers the imagination as to what it can do? When we say we are a pile of atoms, we do not mean we are merely a pile of atoms, because a pile of atoms which is not repeated from one to the other might well have the possibilities which you see before you in the mirror.

Both Robert Maillart’s Salginatobel and Isambard Brunel’s Clifton Suspension bridges are structures of strength; both attract our veneration for carrying us safely across a fatal drop—and yet Maillart’s bridge is the more beautiful of the pair for the exceptionally nimble, apparently effortless way in which it carries out its duty. With its ponderous masonry and heavy steel chains, Brunel’s construction has something to it of a stocky middle-aged man who hoists his trousers and loudly solicits the attention of others before making a jump between two points, whereas Maillart’s bridge resembles a lithe athlete who leaps without ceremony and bows demurely to his audience before leaving the stage. Both bridges accomplish daring feats, but Maillart’s possesses the added virtue of making its achievement look effortless—and because we sense it isn’t, we wonder at it and admire it all the more. The bridge is endowed with a subcategory of beauty we can refer to as elegance, a quality present whenever a work of architecture succeeds in carrying out an act of resistance—holding, spanning, sheltering—with grace and economy as well as strength; when it has the modesty not to draw attention to the difficulties it has surmounted.