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Our personalities and our identities are intimately bound up with the stories that we tell to organize and to make sense of our lives. To understand the human.
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Indeed, immensity is the movement of motionless man.
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Motionless in his boat, Bryden escapes the hectic movement of the city, which militates against contemplation, and acquires through his stillness the dynamism of immensity as described by Bachelard. Thus, despite his aversion to emotional relationships, when Margaret Dirken appears one evening to him as he fishes a smaller lake near the village bog, she is a welcome respite from his solitude. He has noticed her before at local dances, but had never spoken to her.
As he looks at her, he admires her beauty but then is quickly disturbed:. Why, within two sentences, is Margaret transformed from an idealized beauty into a troubling image? At first, he manages to attend to her specific beauty and abstract her enough to incorporate her into his idealized landscape of ancient Ireland that he fantasizes about every morning as he rows a borrowed boat on the bigger lake. But then reality intrudes in the form of individuality.
Stories of Sickness
This desire is compounded by his evident wish to conform to the social conventions of the village, which Margaret apparently brings up in an effort to force his hand on the issue. Bryden has also gotten engaged to Margaret to avoid being censored by the priest, thus unconsciously succumbing to the village conventions he has sought to distance himself from, but since he has no real self-awareness, he still separates himself from the villagers, and is shocked by their obedience to the priest.
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In the meantime, a letter arrives from America from a fellow employee in the bar. Although it is a mere inquiry into whether he is returning from someone who is not close to him, it spurs a renewed longing to return to the Bowery:. He tried to forget the letter, and he looked at the worn fields, divided by walls of loose stones, and a great longing came upon him. The smell of the Bowery slum had come across the Atlantic, and had found him out in his western headland; and one night he awoke from a dream in which he was hurling some drunken customer through the open doors into the darkness.
He had seen his friend in the white duck jacket throwing drink from glass into glass amid the din of voices and strange accents; he had heard the clang of money as it was swept into the till, and his sense sickened for the barroom. Suddenly he misses not just their uniformity, in contrast to the jumbled stone walls of the village, but also the hubbub of that other life. That world of action and busyness lures him away from the loneliness of the village and the effort he will undoubtedly have to make to start examining and knowing himself if he stays.
The smell of the barroom hunted him down. Was it for the sake of the money that he might make there that he wished to go back? No, it was not the money. What then? His eyes fell on the bleak country, on the little fields divided by bleak walls; he remembered the pathetic ignorance of the people, and it was these things that he could not endure. It was the priest who came to forbid the dancing. Yes, it was the priest. As he stood looking at the line of the hills the barroom seemed by him.
He heard the politicians, and the excitement of politics was in his blood again. He must go away from this place—he must get back to the barroom.
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He pities them but comes to dread sharing their condition. Moore felt strongly at this time that rural Ireland, despite its poverty and the increasing authoritarianism of the Church, could provide the contemplative milieu in which deep personal and societal change might flourish. Bryden does not so much hate or fear the priest but fears instead becoming part of a personal community in contrast to the impersonal world of the Bowery he has come to know and love.
The priest represents the fear of the intrusion of personal relationships into his emotionless life. When God returned to see how people were living, he saw that their life was as bad as ever. Those who were strongest, availing themselves of the fact that men might die at any time, subdued those who were weaker, killing some and threatening others with death.
And it came about that the strongest and their descendants did no work, and suffered from the weariness of idleness, while those who were weaker had to work beyond their strength, and suffered from lack of rest. Each set of men feared and hated the other. And the life of man became yet more unhappy. Having seen all this, God, to mend matters, decided to make use of one last means; he sent all kinds of sickness among men. God thought that when all men were exposed to sickness they would understand that those who are well should have pity on those who are sick, and should help them, that when they themselves fall ill those who are well might in turn help them.
And again God went away, but when He came back to see how men lived now that they were subject to sicknesses, he saw that their life was worse even than before. The very sickness that in God's purpose should have united men, had divided them more than ever. Those men who were strong enough to make others work, forced them also to wait on them in times of sickness; but they did not, in their turn, look after others who were ill. And those who were forced to work for others and to look after them when sick, were so worn with work that they had no time to look after their own sick, but left them without attendance.
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View All Exhibits. Historic Textiles Gallery In the Historic Textiles Gallery, the Museum features regularly rotating exhibits from its rich historic textiles and clothing collection, one of the finest in the southeastern United States. Lowcountry Hall In the Lowcountry History Hall, see materials relating to the Native Americans who first inhabited the Lowcountry and the African American and European settlers who transformed the region into an agricultural empire. Natural History In the Natural History gallery you will see an extraordinary array of birds, reptiles and mammals that have called the South Carolina Lowcountry home since prehistory, including contributions from noted naturalists.