Saturday, 22 January 2022

Why don’t lightningcast a shadow, Jim?












A deleted passage from Chapter 9 in Adventures of Huckleberry Finn
               “I been in a storm here once before, with Tom Sawyer & Jo Harper, Jim. It was a storm like this, too—last summer. We didn’t know about this place & so we got soaked. The lightning tore a big tree all to flinders. Why don’t lightningcast a shadow, Jim?”
               “Well,I reckon it do, but I don’t know.”
               “Well, it don’t. I know. The sun does, & a candle does, but the lightning don’t. Tom Sawyer says it don’t, & it’s so.”
               “Sho, child, I reckon you’s mistaken ‘bout dat. Gimme de gun—I’s gwyne to see.”
               So he stood up the gun in the door, & held it, & when it lightened the gun didn’t cast any shadow. Jim says:
               “Well, dat’s mighty cur’us—dat’s oncommon cur’us. Now dey say a ghos’ don’t cas’ no shadder. Why is dat, you reckon? Of course de reason is dat ghosts is made out’n lightnin’, or else de lightnin’ is made out’n ghosts—but I don’t know which it is. I wisht I knowed which it is, Huck.”
               “Well I do, too; but I reckon there ain’t no way to find out. Did you ever see a ghost, Jim?”
               “Has I ever seed a ghos’? Well I reckon I has.”
               “O, tell me about it, Jim—tell me about it.”
               “De storm’s a rippin’ en a tearin’ en a carryin’ on so, a body can’t hardly talk, but I reckon I’ll try. Long time ago, when I was ‘bout sixteen year old, my young Mars. William, dat’s dead, now, was a stungent in a doctor college in de village whah we lived den. Dat college was a powerful big brick building, three stories high, en stood all by hersef in a big open place out to de edge er de village. Well, one night in de middle of winter young Mars. William he tole me to go to de college en go up stairs to de dissectin’ room on de second flo’, en warm up a dead man dat was dah on de table, en git him soft so he can cut him up—“
               “What for, Jim?”
               “I don’t know—see if [he] can find sumfin in him, maybe. Anyways, dat’s what he tole me. En he tole me to wait dah tell he comes. So I takes a lantern en starts out acrost de town. My, but it was a-blowin’ en a-sleetin’ en cold! Dey warn’t nobody stirrin in de streets en I could scaresly shove along agin de wind. In It was mos’ midnight en dreadful dark.
               “I was mighty glad to git to de place, child. I onlocked de do’ en went up stairs to de dissectin’ room. Dat room was sixty foot long en twenty-five foot wide; en all along de wall, on bofe sides, was de long black gowns a-hangin’, dat de stungents wears when dey’s a-choppin’ up de dead people. Well, I goes a swingin’ de lantern along, en de shadders er dem gowns went to spreadin’ out en drawin in, along de wall, en it scairt me. It looked like dey was swingin’ dey han’s to git ‘em warm. Well, I never looked at ‘em no mo’; but it seemed like dey was a-doin’ it behind my back jis’ de same.
               “Dey was a table ‘bout forty foot long, down de middle er de room, wid fo’ dead people on it, layin’ on dey backs wid dey knees up en sheets over ‘em. You could see de shapes under de sheets. Well, Mars. William he tole me to warm up de big man wid de black whiskers. So I unkivered on, en he didn’t have no whiskers. But he had his eyes wide open, en I kivered him up quick, I bet you. De next one was sich a gashly sight dat I mos’ let de lantern drap. Well, I skipped one carcass, en went for de las’ one. I rase’ up de sheet en I says, all right, boss, you’s de chap I’s arter. He had de black whiskers en was a rattlin’ big man, en looked wicked like a pirate. He was naked—dey all was. He was a layin’ on round sticks—rollers. iust in his shroud—do’ it was pooty cold night I took de sheet off’n him en rolled him along feet fus, to de en’ er de table befo’ de fire place. His laigs was apart en his knees was cocked up some; so when I up-ended him on de en’ er de table, he sot up dah lookin pretty natural, wid his feet out en his big toes stickin’ up like he was warmin’ hisself. I propped him up wid de rollers, en den I spread de sheet over his back en over his head to help warm him, en den when I was a tyin’ de corners under his chin, by jings he opened his eyes! I let go en stood off en looked at him, feelin’ mighty shaky. Well, he didn’t look at nuthin particular, en didn’t do nuffin’, so I knowed he was good en dead, yit.
               “But I couldn’t stan’ dem eyes, you know. It made me feel all-overish, jis’ to look at ‘em. So I pulled de sheet clerr down over his face en under his chin, en tied it hard—en den dah he sot, all naked in front, wid his head like a big snow-ball, en de sheet a-kiverin’ his back en fallin down on de table behind. So dah he sot, wid his laigs spread out, but blame it he didn’t look no better’n what he did befo’, his head was so awful, somehow.
               “But dem eyes was kivered up, so I reckoned I’d let him stan’ at dat, en try not try to improve him up no mo’. Well, I stoop’ down between his laigs on de hathstone, en took de candle out’n de lantern en hilt it in my han’ so as to make mo’ light. Dey was some embers in de fire place, but de wood was all to de yuther en’ er de room. Whils’ I was a stoopin’ dah, gittin’ ready to go arter de wood, de candle flickered, en I thought de ole man moved his laigs. It kinder made me shiver. I put out my han’ en felt o’ his laig dat was poked along pas’ my lef’ jaw, en it was cold as ice. So I reckoned he didn’t move. Den I felt o’ de laig dat was poked pas’ my right jaw, en it was powerful cold, too. You see I was a stoopin’ down right betwix’ ‘em.
               “Well, pretty soon I thought I see his toes move; dey was jis’ in front er me, on bofe sides. I tell you, honey, I was gittin’ oneasy. You see dat was a great big old ramblin’ bildin’, en nobody but me in it, end at man over me wid dat sheet roun’ his head over his face en de wind a wailin’ roun’ de place like sperits dat was in trouble, en de sleet a-drivin’ agin’ de glass; en den de clock struck twelve in de village, en it was so fur away, en de wind choke up de sourn’ so dat it only soun’ like a moan—dat’s all. Well, thinks I, I wisht I was out’n dis; what is gwyne to become er me? en dis feller’s a-movin’ his toes, I knows it—I kin see ‘em move—en I kin jis’ feel dem eyes er his’n en see dat ole dumplin’ head done up in de sheet, en—
               “Well, sir, jis’ at dat minute, down he comes, right a-straddle er my neck wid his cold laigs, en kicked de candle out!”
               “My! What did you do, Jim?”
               “Do? Well I never done nuffin’, only I jis’ got up en heeled it back in de dark. I warn’t gwyne to wait to fine out what he wanted. No sir; I jis’ split down stairs en linked it home a-yelpin’ every jump.”
               “What did your Mars. William say?”
               “He said I was a fool. He went dah en found de man on de flo’ all comfortable, en took en chopped him up. Dod rot him, I wisht I’d a had a hack at him.”
               “What made him hop on your neck, Jim?”
               “Well, Mars. William said I didn’t prop him good wid de rollers. But I don’t know. It warn’t no way for a dead man to act, nohow; it might a scairt some people to death.”
               “But Jim, he warn’t rightly a ghost—he was only a dead man. Didn’t you ever see a real sure-‘nough ghost?”
               “You bet I has—lots of ‘em.”
               “Well, tell me about them, Jim.”
               “All right, I will, some time; but de storm’s a-slackin’ up, now, so we better go en tend to de lines en bate ‘em agin.”

Monday, 17 January 2022

What Call Would a Woman with THAT Strength in Her Have to Die of INFLUENZA?







MRS. EYNSFORD HILL
I’m sure I hope it won’t turn cold. 
There’s so much Influenza about. 
It runs right through 
our whole family regularly 
every spring.

LIZA 
[darkly
My Aunt Died of Influenza : 
so they said.

MRS. EYNSFORD HILL 
[clicks her tongue sympathetically]!!!

LIZA 
[in the same tragic tone
But it’s my belief they 
done the old woman in.

MRS. HIGGINS 
[puzzled
Done her in?

LIZA
Y-e-e-e-es, Lord love you! 
Why should she die of Influenza
She come through diphtheria 
right enough the year before. 

I saw her with my own eyes. 
Fairly blue with it, she was. 

They all thought she was dead
but my father 
he kept ladling gin 
down her throat 
til she came to 
so sudden 
that she bit the bowl 
off the spoon.

MRS. EYNSFORD HILL 
[startled
Dear me!

LIZA 
[piling up the indictment
What call would a woman 
with that strength in her 
have to die of Influenza
What become of her new straw hat 
that should have come to me

Somebody pinched it
and what I say is, 
them as pinched it 
done her in.

MRS. EYNSFORD HILL
What does ‘doing her in’ mean?

HIGGINS 
[hastily
Oh, that’s the new small talk. 
To do a person in 
means to kill them.

MRS. EYNSFORD HILL 
[to Eliza, horrified
You surely don’t believe 
that Your Aunt was killed?

LIZA
Do I not! Them she lived with 
would have killed her for
 a hat-pin, let alone a hat.

MRS. EYNSFORD HILL
But it can’t have been right 
for your father to pour spirits 
down her throat like that. 
It might have killed her.

LIZA
Not her. Gin was mother’s milk to her. 
Besides, he’d poured so much down his own throat that he knew the good of it.

MRS. EYNSFORD HILL
Do you mean that he drank?

LIZA
Drank! My word! 
Something chronic.

MRS. EYNSFORD HILL
How dreadful for you!

LIZA
Not a bit. It never did him 
no harm what I could see.
 
But then he did not keep it up regular
[Cheerfully
On the burst, as you might say, 
from time to time
 
And always more agreeable 
when he had a drop in. 
 
When he was out of work, 
my mother used to give him fourpence 
and tell him to go out 
and not come back until 
he’d drunk himself cheerful 
and loving-like. 

There’s lots of women 
has to make their husbands drunk 
to make them fit to live with

[Now quite at her ease
 
You see, it’s like this. 
If A Man has a bit of A Conscience
it always takes him when he’s sober; 
and then it makes him low-spirited

A drop of booze just takes that off 
and makes him happy. 
 
[To Freddy, who is in convulsions of suppressed laughter] 
Here! what are you sniggering at?

FREDDY
The new small talk. 
You do it so awfully well.

LIZA. 
If I was doing it proper, 
what was you laughing at? 
[To Higgins
Have I said anything I oughtn’t?

MRS. HIGGINS 
[interposing
Not at all, Miss Doolittle.

LIZA
Well, that’s a mercy, anyhow. 
[Expansively
 
What I Always Say is —

HIGGINS 
[rising and looking at his watch
Ahem!

LIZA 
[looking round at him; taking the hint; and rising
Well: I must go. 
[They all rise.  Freddy goes to The Door]
So pleased to have met you. Good-bye. 
[She shakes hands with Mrs. Higgins].

MRS. HIGGINS. 
Good-bye.

LIZA. 
Good-bye, Colonel Pickering.

PICKERING
Good-bye, Miss Doolittle. 
 
[They shake hands].

LIZA
 [nodding to the others
Good-bye, all.

FREDDY 
[opening the door for her
Are you walking across The Park, 
Miss Doolittle? If so—


LIZA
Walk! Not bloody likely

[Sensation]. 
 


I am going in a taxi. 
 
[She goes out].

Pickering gasps and sits down. Freddy goes out on the balcony to catch another glimpse of Eliza.

Sunday, 16 January 2022

Scorpionism

.....what's The Name of Bilbo Baggins' Sword..?

 

Borg vs. Species 8472

 

Scene from Star Trek Voyager episode "Scorpion : Part II".

The Borg are losing the Battle against Species 8472.  

Desperate for Survival, they take Voyager 

into Fluidic Space to fight them in their own realm.



This "super" man is nothing of the kind. 

I've discovered his weakness —He cares. 

He actually cares for these Earth people. Like pets? I suppose so. Sentimental idiot.


Thursday, 13 January 2022

When Things Get THIS BAD, The Innocent Must Suffer and Die





"When the Sicilians 
wish you "Cent'anni"... 
it means "for long life."

....and a Sicilian 
never forgets."




"Your Sins are indeed Terrible,
and it is Just that You Suffer --
Your Life can still be redeemed,
but I Know that You Don't Believe That --
You Will NOT Change."

"This Pope has Powerful Enemies
We may not be in time 
to Save Him.
(then)
Now let's go back 
to The Opera."













The final scene cut from 
The Death of Michael Corleone 
is the physical death of Michael Corleone.

The Godfather Part III ends as Michael is sitting alone outside a villa in Sicily. 

All Family debts have been settled, 
but he has no Family left
He is wearing dark glasses, 
slumps in his chair, 
loses his grip on the orange in his lap, 
and falls dead to The Ground.

Mario Puzo’s The Godfather, 
Coda: The Death of Michael Corleone ends, 
not only with him Still Alive
but wishing him Cent’anni 

The phrase actually translates to 
“100 years.”
 Imagine how many Godfather sequels could be made in that time. 

Michael is left alive, alone. 
Atonement is beyond him.



(The loving parents are at the incubator of their dying child. Tucker's left arm is in a sling.)

PHLOX
I wish I could Do More.

ARCHER
I know.

PHLOX
When you invited me 
to join This Crew, 
I thought it would be 
an interesting diversion 
for a few months. 

Some time away from 
The Complications of Family, 
which on Denobula can be 
extremely complicated. 
I didn't expect to gain another family. 
(close to tears

It hurts as if she were my own child. 

Make Something Good 
come from this, Captain.

[Starfleet Command]

(Everyone is back around the table, and the Enterprise senior staff are standing at the end.)

SAMUELS
Fellow delegates, this last week 
we've seen what humans can be 
at their worst. 

But we cannot, we must not 
use that as an excuse 
to End The Dream that began here. 
For then, The Demons of Our Past 
will have won. 

Instead, I want to look to The Future and begin by honouring the people responsible for our being here tonight. 
They represent all of us at our best.

ARCHER
Up until about a hundred years ago, there was one question 
that burned in every human, 
that made us study the stars and dream of traveling to them, 

"Are we alone?" 

Our generation is privileged to know the answer to that question. 

We are all explorers, 
driven to know what's over the horizon, 
what's beyond our own shores. 

And yet, the more I've experienced, the more I've learned that no matter how far we travel, or how fast we get there, 
the most profound discoveries are not necessarily beyond that next star.

They're within us, woven into 
the threads that bind us, 
all of us, to each other. 

The final frontier begins in this hall.
Let's explore it together.

(Soval rises to his feet and begins the applause.)

[Corridor]

GANNET
I hear the conference is back on track.

TRAVIS: 
It's a first step. The Captain says 
it's going to take years 
to work out the details.

GANNET
But it'll happen, and you're 
part of the reason why.

TRAVIS
Just doing My Job.

GANNET: 
So was I.

TRAVIS: 
I know.

GANNET: 
If Vulcans and Andorians can get along, 
you'd think we could?

TRAVIS: 
A lot of details to work out.

(This angle shows us they are at the Transporter alcove.)

GANNET: 
Isn't that the fast way home?

TRAVIS: 
The least I can do is give you a ride.

(He takes her hand.)

TRAVIS: 
The Launch Bay's this way.

[T'Pol's quarters]

T'POL: Come in.

TUCKER: 
(trying not to cry) 
The delegates at the conference, 
they've asked about the service for, 
for Elizabeth. They want to attend.

T'POL: 
She was Important.

TUCKER: 
There's something else. I spoke with Phlox. 
It turns out there was a flaw in the technique that Paxton's doctors used in the cloning process. 
Human DNA and Vulcan DNA, 
Phlox says there's no medical reason 
why they can't combine. 
So if a Vulcan and a Human 
ever decided to have A Child, 
it'd probably be okay. 

And that's sort of comforting.

(T'Pol takes his hand)

Wednesday, 12 January 2022

Something About Moses



“Suddenly it’s, 
‘I no longer have 
the chains of this role 
and 
this responsibility,’

He doesn’t have to be THAT Superman anymore.”


Moses KNEW he couldn’t create 
a Society of Free Men 
from a Generation 
born as slaves.

…So Moses kept His People wandering [in The Desert] 
until The Previous Generation has DIED.

From The Nile to The Borders of Canan at Gaza 
is an 8 Day Walk.

Moses made them walk round and around 
in circles in The Desert 
for 40 Years.



Rameses, Prince of Egypt :
The Slave who would be King. 
Captain, The Robe of State.
 
His Hebrew Mother brought it to the prison 
before she died. 

Kindly Old Soldier :
I'd rather this be Your Armor. 

Rameses, Prince of Egypt :
You will have need of A Scepter. 
Give me this binding pole. 

Here is your King's Scepter, 
and here is Your Kingdom
with The Scorpion, The Cobra, 
and The Lizard for subjects

Free them, if you will. 
Leave the Hebrews to me. 

Give this Prince of Israel one day's ration 
of bread and water. 

Kindly Old Soldier :
One day's ration? 
It will take many days to cross This Wilderness, 
if he can cross at all

Rameses, Prince of Egypt :
I commend You to Your Hebrew God 
who has No Name. 
If you die, it will be by His Hand, 
not by mine. 

Farewell, my one-time brother. 

Hyah

Into the blistering wilderness of Shur, 
The Man Who Walked with Kings now walks alone

Torn from the pinnacle of royal power, 
stripped of all rank and earthly wealth, 
a forsaken man without a country, without a hope, 
his soul in turmoil like the hot winds and raging sands that lash him with the fury of a taskmaster's whip. 

He is driven forward, always forward, 
by a God unknown, 
toward a land unseen... 

Into the molten wilderness of sin, 
where granite sentinels 
stand as towers of living death 
to bar his way. 

Each night brings 
the black embrace 
of loneliness. 

In the mocking whisper of the wind, 
he hears the echoing voices of the dark... 

Moses! Moses! Moses! 
Moses! Moses! Moses! 

His tortured mind wondering if they call 
the memory of past triumphs 
or wail foreboding of disasters yet to come 
or whether the desert's hot breath 
has melted his reason into madness. 

He cannot cool the burning kiss of thirst upon his lips nor shade the scorching fury of the sun. 

All about is Desolation. 

He can neither bless nor curse 
the power that moves him, 
for he does not know from where it comes. 

Learning that it can be more terrible 
to live than to die, 
he is driven onward through 
the burning crucible of desert, 
where holy men and prophets 
are cleansed and purged 
for God's Great Purpose --

Until at last, 
at the end of human strength, 
beaten into the dust 
from which he came, 
The Metal is ready 
for The Maker's Hand

And he found strength 
from a fruit-laden palm tree... 
and life-giving water flowing from 
The Well of Midian. 


Our Father is Jethro
He's Sheik of Midian. 

Jethro, Sheik of Midian :
Strength to you, Stranger. 

Moses :
I am Moses, 
Son of Amram & Yochabel. 

Health, Prosperity, 
Life to You, Jethro of Midian. 

Jethro, Sheik of Midian :
Sephora has told me of Your Kindness. 
Let us break bread while my daughter brings meat. 
You have come far.
 
Moses :
From Egypt. 

Jethro, Sheik of Midian :
Across The Desert on foot? 
He Who Has No Name surely guided your steps. 

Moses :
No Name. 
You Bedouins know 
The God of Abraham? 

Jethro, Sheik of Midian :
Abraham is The Father 
of many Nations. 

We are The Children of Ishmael
His Firstborn

We are The Obedient of God. 

Moses :
My People look to Him for Deliverance... 
but they are still in bondage

Jethro, Sheik of Midian :
Tomorrow we leave for the high pastures beneath God's Holy Mountain. 
My Tent would be favored 
if you joined us.

 Moses :
I am A Stranger in a strange land. 
I have no wealth, no skill as A Shepherd, and it is Death to give sanctuary to a runaway slave. 

Jethro, Sheik of Midian :
Slave? Death? 
Not among Our People

You have Wisdom. 
You need nothing more. 

And There are Seven here 
to teach you the tasks of A Shepherd. 

Sephora is The Eldest. 
You can learn best from her. 

Moses :
Oh. I will dwell in This Land. 

•••••

Sephora, 
Daughter of Jethro :
Today he sleeps. 

Moses :
Who sleeps? 

Sephora, 
Daughter of Jethro :
He who has no name. 

Moses :
Does your god live on this mountain? 


Sephora, 
Daughter of Jethro :
Sinai is his high place, his temple. 

Moses :
If this god is God, he would live on every mountain, in every valley. 
He would not be only the god of Israel or Ishmael alone, but of all men. 

Sephora, 
Daughter of Jethro :
It is said he created all men in his image. 

Moses :
Then he would dwell in every heart, in every mind, in every soul. 

Sephora, 
Daughter of Jethro :
I do not know about such things, but I do know that the mountain rumbles when God is there, and the earth trembles, and the cloud is red with fire. 

Moses :
At such a time, has any man ever gone to see him face-to-face? 

Sephora, 
Daughter of Jethro :
No man has ever set foot on the forbidden slopes of Sinai. 
Why do you want to see him, Moses? 

Moses :
To know that He Is. 
And if he is, to know why he has not heard the cries of slaves in bondage. 

Sephora, 
Daughter of Jethro :
Moses, it would be death to look upon his face. 

Moses :
How many of my people have died 
because he has turned away his face? 

Sephora, 
Daughter of Jethro :
Can a man judge God? 
No, Moses. We cannot see his whole purpose. 
Even Ishmael did not know that God drove him into the desert to be the father of a nation. 
Is it not enough to know that he has saved you from the Pharaoh's anger? 

Moses :
How do you know that? 

Sephora, 
Daughter of Jethro :
You walk like a prince, and you fight like a warrior. 
There is word in the caravans of a great one who was driven out of Egypt. 

Moses :
This is not the scepter of a prince, 
but the staff of a wanderer. 

Sephora, 
Daughter of Jethro :
Then rest from wandering. 
My father has many flocks and no son to tend them. 
There would be peace of spirit for you, Moses, in our tents beneath the holy mountain. 

Moses :
You have strong faith in this god, Sephora... 
but for me, there is no peace of spirit 
until I hear the word of God from God himself. 


Moses :
In The Tent of Jethro, 
there is Dignity, Honor, 
Freedom, and Beauty... 
All that a man could ask of life, 
but my heart is still a prisoner of the past. 

I... I cannot choose now. 

Strength to You, Sheiks of Sinai. 
Strength to You, Sheiks of Sinai. 
May God guide Your Heart. 


Sephora, 
Daughter of Jethro :
Oh, Moses! 
Tonight He is awake. 
Which of my sisters did you choose? 

Moses :
I made no choice, Sephora. 


Sephora, 
Daughter of Jethro :
She was very beautiful, wasn't she? 
This woman of Egypt, who left her scar upon your heart. 
Her skin was white as curd, her eyes green as the cedars of Lebanon, her lips, tamarisk honey. 
Like the breast of a dove, her arms were soft... 
and the wine of desire was in her veins. 

Moses :
Yes. She was beautiful... 
as A Jewel

Sephora, 
Daughter of Jethro :
A Jewel has brilliant fire, 
but it gives no warmth. 

Our Hands are not so Soft, 
but they can serve
Our Bodies not so White, 
but they are strong

Our lips are not perfumed, 
but they Speak The Truth. 
Love is not an art to us. 
It's Life to Us. 

We are not dressed in gold and fine linen. 
Strength and Honor are our clothing. 
Our tents are not the columned halls of Egypt, 
but our children play happily before them. 

We can offer you little... 
but we offer all we have

Moses :
I have not little, Sephora. 
I have nothing


Sephora, 
Daughter of Jethro :
Nothing from some... 
is more than Gold from others.






"Stories become unforgettable when they communicate sophisticated modes of being — complex problems and equally complex solutions — that we perceive, consciously, in pieces, but cannot fully articulate. It was for this reason, for example, that the biblical story of Moses and the Israelites’ exodus from Egypt became such a powerful touchstone for black slaves seeking emancipation in the United States:

  Go down, Moses, way down in Egypt land
  Tell old Pharaoh
  To let my people go.

  The biblical story of Exodus is properly regarded as archetypal (or paradigmatic or foundational) by psychoanalytic and religious thinkers alike, because it presents an example of psychological and social transformation that cannot be improved upon. It emerged as a product of imagination and has been transformed by constant collective retelling and reworking into an ultimately meaningful form that applies politically, economically, historically, personally, and spiritually, all at the same time. 

This is the very definition of literary depth—something that reaches its apogee in certain forms of ancient, traditional stories. 

The fact of that depth means that such accounts can be used diversely as a meaningful frame for any process of profound change experienced by any individual or society (stable state, descent into chaos, reestablishment of stability), and can lend that process multidimensional reality, context, powerful meaning, and motivation.

 The Emergence of the Unforgettable

  How might an unforgettable story come to be? What might precede its revelation? It is at the very least the consequence of a long period of observation. Imagine a scientist monitoring the behavior of a wolf pack, or a troop of chimps—indeed, any group of complex social animals. He or she attempts to identify regularities in the behavior of the individuals and the group (patterns, in a word) and to articulate those regularities—to encapsulate them in language. The scientist might first relate a series of anecdotes about animal actions emblematic of the general behavior of the species. He or she might then abstract even further, attempting to generalize across anecdotes with rule-like descriptions. 

I say “rule-like” because the animals are not following rules. Rules require language. Animals are merely acting out regularities. They cannot formulate, understand, or follow rules.

  But human beings? We can observe ourselves acting, as a scientist might — more accurately, as A Storyteller might. Then we can tell the stories to each other. 

The stories are already distillations of observed behavior (if they are not distillations, they will not be interesting; relating a sequence of everyday actions does not make for a good story). Once the story is established, we can analyze it, looking for deeper patterns and regularities. 

If that analysis is successful, we can generalize across anecdotes with the formulation of rules, and then we can learn, consciously, to follow those rules. 

Here is how this might happen. We all react judgmentally when a child or adult—or, indeed, a society—is acting improperly, unfairly, or badly. The error strikes us emotionally. We intuit that a pattern upon which individual and social adaptation depends has been disrupted and violated. We are annoyed, frustrated, hurt, or grief-stricken at the betrayal. This does not mean that each of us, reacting emotionally, has been successful at articulating a comprehensive philosophy of good and evil. We may never put our finger on what has gone wrong. However, like children unfamiliar with a new game but still able to play it, we know that the rules are being broken.

  Something precisely like this is portrayed in the biblical story of Exodus, the ancient account of the flight of the Hebrew slaves from their Egyptian masters. Moses, who leads the escaping people, is continually called upon by his followers to draw very fine moral distinctions when they struggle with one another and seek his advice. In consequence, he spends a very long time observing and contemplating their behavior. It is as if the desert prophet had to discover what rules he and his Israelite followers were already struggling to act out, prior to his receipt of the explicit commandments from God. Remember: Every society is already characterized by patterned behavior; otherwise it would be pure conflict and no “society” at all. But the mere fact that social order reigns to some degree does not mean that a given society has come to explicitly understand its own behavior, its own moral code. 

It is therefore no accident that in this story Moses serves as A Judge for his followers — and does so with sufficient duration and intensity to exhaust himself — before he receives the Ten Commandments:

  And it came to pass on the morrow, that Moses sat to Judge The People: and The People stood by Moses from the morning unto the evening.

  And when Moses’ Father in Law saw all that he did to The People, he said, "What is this thing that thou doest to The People? Why sittest Thou thyself alone, and all The People stand by thee from morning unto even?"

  And Moses said unto his Father in Law, "Because The People come unto me to inquire of God:

  When they have a matter, they come unto me; and I Judge between one and another, and I do make them know The Statutes of God, and His Laws."

  And Moses’ Father in Law said unto him, "The thing that thou doest is not good.

  Thou wilt surely wear away, both Thou, and This People that is with thee: for this thing is too heavy for thee; Thou art not able to perform it thyself alone." (Exodus 18: 13–18)

  This difficult exercise in discrimination and judgment, observing and weighing, is an integral part of what prepared the biblical patriarch for the receipt of divine revelation

If there had been no behavioral base for those rules — no historical precedent codified in traditional ethics, no conventions, and no endless hours of observation of the moral patterns — the commandments simply could not have been understood and communicated, much less obeyed.

  An unforgettable story captures the essence of Humanity and distills, communicates, and clarifies it, bringing what we are and what we should be into focus. It Speaks to Us, motivating the attention that inspires us to imitate. We learn to see and act in the manner of the heroes of the stories that captivate us. 

These stories call to capacities that lie deep within our nature but might still never develop without that call. 

We are dormant adventurers, lovers, leaders, artists, and rebels, but need to discover that we are all those things by seeing the reflection of such patterns in dramatic and literary form. That is part of being a creature that is part nature and part culture. 

An unforgettable story advances our capacity to understand our behavior, beyond habit and expectation, toward an imaginative and then verbalized understanding. Such a story presents us in the most compelling manner with The Ultimate Adventure, the divine romance, and the eternal battle between good and evil. 

All this helps us clarify our understanding of moral and immoral attitude and action, personal and social. This can be seen everywhere, and always.

  Question: Who are you — or, at least, who could you be?

Answer: Part of the eternal force that constantly confronts the terrible unknown, voluntarily; part of the eternal force that transcends naivete and becomes dangerous enough, in a controlled manner, to understand evil and beard it in its lair; and part of the eternal force that faces chaos and turns it into productive order, or that takes order that has become too restrictive, reduces it to chaos, and renders it productive once again.

  And all of this, being very difficult to understand consciously but vital to our survival, is transmitted in the form of the stories that we cannot help but attend to. And it is in this manner that we come to apprehend what is of value, what we should aim at, and what we could be."

Our Survival is Your Survival

Alliance with The Borg

[Bridge]

TUVOK: 
There are three planets in this system. Inhabitants, all Borg. 
A vessel is approaching.

JANEWAY: 
All stop. Shields up.

TUVOK: 
They're hailing us.

JANEWAY: 
Open a channel.

BORG [OC]: 
We are the Borg. 
You will be assimilated. 
Resistance is futile.

TUVOK: 
They've locked onto us with a tractor beam.

JANEWAY: 
Borg vessel, This is Captain Janeway 
of The Starship Voyager —

I have Tactical Information 
about Species-8472. 

I want to negotiate.

BORG [OC]: 
Negotiation is irrelevant. 
You will be assimilated.

JANEWAY
Borg vessel. What you're receiving is a sample of the knowledge we possess. 
If you don't disengage your tractor beam immediately
I will have that data destroyed

You have ten seconds 
to comply. 

We know you're in danger 
of being defeated

You can't afford to risk 
losing this information. 
Disengage your tractor —

(Janeway is beamed away.)

[Borg Cube]

BORG [OC]: 
State your demands.

JANEWAY: 
I want safe passage 
through your space. 
Once my ship is 
beyond Borg territory, 
I'll give you our research.

BORG [OC]: 
UnacceptableOur Space is vast. 
Your passage would 
require too much time. 
We need the technology now.

JANEWAY: 
If I give it to you now, 
you'll assimilate us.

BORG [OC]: 
Species-8472 must be stopped
Our survival is your survival. 
Give us the technology.

JANEWAY: 
No. Safe Passage first
or No Deal.

BORG [OC]: 
State your proposal.

JANEWAY: 
Let's work together, 
combine our resources. 

Even if we do give you 
the technology now, 
you're still going to need 
time to develop it. 

By working together, 
we can create a weapon more quickly. 

If you escort us through your space 
we can perfect the weapon as we —

4th Dimension - Tesseract, 4th Dimension Made Easy - Carl Sagan