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" "Trochu's Vianney book makes me shudder. Positively frightening - and the saint too. The first time I read it I was quite horrified...Actually he is a second Simeon Stylites - and how hard and stern he is - and not only against himself: he would excommunicate his parishioners if they even once went dancing or drinking - like the most rigorous Puritan..For him sin involved personal, direct single combat with Satan...But there's no glove to Vianney's peasant fist. He's really gruesome.
Ida Friederike Görres (born Elisabeth Friederike, Reichsgräfin Coudenhove-Kalergi; 2 December 1901, in Schloss Ronsperg, Bohemia – 15 May 1971, in Frankfurt am Main) was a Catholic writer. From the Coudenhove-Kalergi family, she was the daughter, one of seven children, of Count Heinrich von Coudenhove-Kalergi and his Japanese wife Mitsuko Aoyama.
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Yet again - visible and invisible. The panic of loneliness - not physical, far more moral - arises from the fact that every lonely person is wearing a tarnkappe , a magic hood, (in German fairy tales, a magic cap which makes the wearer invisible) against his will: which is tantamount to saying: "If people don't bother about me, it's because nobody is seeing me - seeing me. I'm just a piece of furniture in their eyes." … Newcomers in a strange world suffer this fate especially, what's more in a doubly unpleasant way: first because no one takes any notice of them since they don't belong, i.e. they're nobodies, yet at the same time they're conspicuous, in the way, a nuisance, desperately conscious of being just awkward lumps of furniture.
Reading O'Rahilly's life of Father William Doyle. I'm surprised this book hasn't left a deeper mark, for it contains - often in parallel terms - the whole teaching of the Little Way which created such a stir in the case of Thérèse. But it seems people prefer to accept such things from a lovely young girl complete with smile, roses and veil. One can't help wondering whether Thérèse would have met with the same enormous response had she been hopelessly ugly - a hunchback with a squint, or old...
I've just finished reading Shakespeare's Sonnets, that is, I've read and understood them for the first time. One passionate, desolate lament - immeasurable and inconsolable - for the waning, wasting and passing of beauty. At the same time there's something disturbingly un-Christian here - the utterly heathen, desperate keening of the dirges, the grisly dances of death, danses macabres, in which death is nothing but the end, finality - destruction, not transition.