Personally I would like to see that the nuclear age, in terms of power, does come, because there's no long-term future for developing countries without nuclear power.
We do want people to know if in fact we learn of an incident that's focused on a particular city.If we learn of long-term planning, that's focused on a particular industry or infrastructure. And so we feel we have an obligation to let people know if we have information of a credible threat or not.
The duty of rhetoric is to deal with such matters as we deliberate upon without arts or systems to guide us, in the hearing of persons who cannot take in at a glance a complicated argument or follow a long chain of reasoning.
A wrong attitude towards nature implies, somewhere, a wrong attitude towards God, and that the consequence is an inevitable doom. For a long enough time we have believed in nothing but the values arising in a mechanized, commercialized, urbanized way of life: it would be as well for us to face the permanent conditions upon which God allows us to live upon this planet.
Was his life nothing? Had he nothing to show, no work? He did not count his work, anyone could have done it. What had he known, but the long, marital embrace with his wife. Curious, that this was what his life amounted to! At any rate, it was something, it was eternal. He would say so to anybody, and be proud of it. He lay with his wife in his arms, and she was still his fulfillment, just the same as ever. And that was the be-all and the end-all. Yes, and he was proud of it.
What then is truth? A movable host of metaphors, metonymies, and anthropomorphisms: in short, a sum of human relations which have been poetically and rhetorically intensified, transferred, and embellished, and which, after long usage, seem to a people to be fixed, canonical, and binding. Truths are illusions which we have forgotten are illusions — they are metaphors that have become worn out and have been drained of sensuous force.
Composing on the typewriter, I find that I am sloughing off all my long sentences which I used to dote upon. Short, staccato, like modern French prose. The typewriter makes for lucidity, but I am not sure that it encourages subtlety.
But touch me, and no minister so sore.
Whoe'er offends, at some unlucky time
Slides into verse, and hitches in a rhyme,
Sacred to ridicule his whole life long,
And the sad burthen of some merry song.