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What is called "nature" is not something fixed, but plastic; something which can be conformed to the will of the God and Father of Jesus. A pestilential Panama, for instance, is not natural, but subnatural, and must be brought up to its divine nature, when it will serve the children of God.
One great similarity between the Kashmirian architecture and that of the various Greek orders is its stereotyped style, which, during the long flourishing period of several centuries, remained unchanged. In this respect it is so widely different from the ever-varying forms and plastic vagaries of the Hindu architecture that it is impossible to conceive their evolution from a common origin.
The Greeks reckoned it to be the highest merit of the masters of their plastic art when they retained the great traits with which their predecessors had invested a conception; only endeavouring to better those parts in which a lesser success had been achieved until that section of the work, too, had attained the highest degree of perfection.
But the same man, reduced to a mangled mass of lifeless humanity, broken to pieces, and ghastly with the gaping of dead wounds the same man, when his last leap is over and hope is fled, is an object of horror, and as such would not in early times have been regarded as a legitimate subject for artistic representation, either on the stage or in the plastic or pictorial arts.
But youth can triumph; it has the resolution when the mind is still plastic to gain that judgment which experience gives. My advice to the young men of to-day is simply this: Money is nothing but the fruit of resolution and intellect applied to the affairs of the world. To an unshakable resolution fortune will oppose no bar.
The mosaic tile of the stairs and floor gleamed from a recent scrubbing. The plastic and metal handrails were spotless. He looked briefly at his subordinate, then motioned toward the door at their right. "This one," he ordered. Bond touched the call button and they waited. From inside the apartment, there was a slight rustle of motion, then the door opened and a man stood before them.
In sum, are we merely stones that deflect the stream for a while, until the waters wear them away? Or are there spiritual hopes of humanity which the mechanism of nature cannot destroy? Is the philosophy of life capable of giving us something more than a naturalism humanized merely by the thought that man, being, after all, a well-knit and plastic mechanism, can for a time mold nature to his ends?
In our voyage across the plains where antique civilization was sketched out and started on its long journey to maturity, we shall, whenever we cross the frontiers of a new people, begin by turning our attention for a space to their inscriptions; and wherever we are met by those characters which are found in their oldest shapes in the texts from Lower Chaldæa, there we shall surely find plastic forms and motives whose primitive types are to be traced in the remains of Chaldæan art.
Owing to the interest of the subject especially for aristocratic circles, and the great plastic talent of the poet, the Annals remained the oldest Roman original poem which appeared to the culture of later generations readable or worth reading; and thus, singularly enough, posterity came to honour this thoroughly anti- national epos of a half-Greek -litterateur- as the true model poem of Rome.
It employs neither the clear-cut, concrete, reality-penetrated images of the plastic imagination, nor the semi-schematic representations of the rational imagination, but those midway in that ascending and descending scale extending from perception to conception. This determination, however, is insufficient, and we can make it more precise.
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