Chris Queen

“We make our decisions, and then our decisions turn around and make us.”
― F.W. Boreham

“I have learned that my quenchless longing for life is, after all, unconsciously, a secret, unutterable yearning after God; for how can you conceive of life apart from Him?”
― F.W. Boreham

“When a work becomes canonical its internal order and logic are guaranteed by the collective will of the canonical community. Its consonance with the known truths and reality outside the text is similarly committed to. What Frank Kermode referred to as the Principle of Complementarity is the willed assumption of the community that has invested value and meaning in a text that the text must make sense within itself and against its extratextual surroundings.9 It cannot suffer from senseless internal contradictions. It cannot clash with what is known to be true outside the text. What the biblical scholar Moshe Halbertal termed the Principle of Charity is the willingness of a canonical community to read its texts in the best possible light and in a way that defuses or elides contradictions with truth or order.”
― Jonathan A.C. Brown, Misquoting Muhammad: The Challenge and Choices of Interpreting the Prophet's Legacy

“Tagore claims that the first time he experienced the thrill of poetry was when he encountered the children’s rhyme ‘Jal pare/pata nare’ (‘Rain falls / The leaf trembles) n Iswrchandra Vidyasagar’s Bengali primer Barna Parichay (Introducing the Alphabet). There are at least two revealing things about this citation. The first is that, as Bengali scholars have remarked, Tagore’s memory, and predilection, lead him to misquote and rewrite the lines. The actual rhyme is in sadhu bhasha, or ‘high’ Bengali: ‘Jal paritechhe / pata naritechhe’ (‘Rain falleth / the leaf trembleth’). This is precisely the sort of diction that Tagore chose for the English Gitanjali, which, with its these and thous, has so tried our patience. Yet, as a Bengali poet, Tagore’s instinct was to simplify, and to draw language closer to speech. The other reason the lines of the rhyme are noteworthy, especially with regard to Tagore, is – despite their deceptively logical progression – their non-consecutive character. ‘Rain falls’ and ‘the leaf trembles’ are two independent, stand-alone observations: they don’t necessarily have to follow each other. It’s a feature of poetry commented upon by William Empson in Some Versions of Pastoral: that it’s a genre that can get away with seamlessly joining two lines which are linked, otherwise, tenuously.”
― Amit Chaudhuri, On Tagore Reading the Poet Today