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Ah me! what hand can pencil guide, or pen, To follow half on which the eye dilates Through views more dazzling unto mortal ken. Than those whereof such things the bard relates, Who to the awe-struck world unlocked Elysium’s gates?

In literature and in art, alike, this gloomy fashion of regarding Death has been characteristic of Christianity. Death has been painted as a skeleton grasping a scythe, a grinning skull, a threatening figure with terrible face and uplifted dart, a bony scarecrow shaking an hourglass – all that could alarm and repel has been gathered round this rightly-named King of Terrors. Milton, who has done so much with his stately rhythm to mould the popular conceptions of modern Christianity, has used all the sinewy strength of his magnificent diction to surround with horror the figure of Death.

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Any magazine-cover hack can splash paint around wildly and call it a nightmare, or a witches sabbath or a portrait of the devil; but only a great painter can make such a thing really scare or ring true. That's because only a real artist knows the anatomy of the terrible, or the physiology of fear.

There are pens and pencils. Pens are permanent, so if you make a mistake with a pen, you can't go back. But if you make a mistake with a pencil, you can just go back and erase your mistake. So, in a way life are like pens. Because if you make a mistake in the past, you can't simply erase that mistake. Unlike pencils, which have erasers. Unless, if you have a pen that has an eraser.”

“…And that eraser is called Jesus Christ.

We are all pencils in the hand of God.

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