Papyrus Quotes

“We are often given pills or fluids to help remedy illness, yet little has been taught to us about the power of smell to do the exact same thing. It is known that the scent of fresh rosemary increases memory, but this cure for memory loss is not divulged by doctors to help the elderly. I also know that the most effective use of the blue lotus flower is not from its dilution with wine or tea – but from its scent. To really maximize the positive effects of the blue lily (or the pink lotus), it must be sniffed within minutes of plucking. This is why it is frequently shown being sniffed by my ancient ancestors on the walls of temples and on papyrus. Even countries across the Orient share the same imagery. The sacred lotus not only creates a relaxing sensation of euphoria, and increases vibrations of the heart, but also triggers genetic memory - and good memory with an awakened heart ushers wisdom.”

“Indian paper is famous, Egyptian papyrus, Chinese paper... every country has used this natural material. But the problem is it's going to run out because it's very difficult work.”

“As though she had entered a fable, as though she were no more than words crawling along a dry page, or as though she were becoming that page itself, that surface on which her story would be written and across which there blew a hot and merciless wind, turning her body to papyrus, her skin to parchment, her soul to paper.”

“...Jesus was only twelve years old. Jesus was learning the carpentry trade from his father.Two Roman soldiers came into the shop with a mechanical drawing on papyrus of a device they wanted built by sunrise the next morning. It was a cross to be used in the execution of a rabble-rouser.Jesus and his father built it. They were glad to have the work. And the rabble-rouser was executed on it.So it goes.”

“Pilate, as the histories reveal, was not one for trials. In his ten years as governor of Jerusalem, he had sent thousands upon thousands to the cross with a simple scratch of his reed pen on a slip of papyrus. The notion that he would even be in the same room as Jesus, let alone deign to grant him a "trial," beggars the imagination. Either the threat posed by Jesus to the stability of Jerusalem is so great that he is one of only a handful of Jews to have the opportunity to stand before Pilate and answer for his alleged crimes, or else the so-called trial before Pilate is pure legend.”

“[Jesus] tilted His head back, pulled up one last time to draw breath and cried, "Tetelestai!" It was a Greek expression most everyone present would have understood. It was an accounting term. Archaeologists have found papyrus tax receipts with "Tetelestai" written across them, meaning "paid in full." With Jesus' last breath on the cross, He declared the debt of sin cancelled, completely satisfied. Nothing else required. Not good deeds. Not generous donations. Not penance or confession or baptism or...or...or...nothing. The penalty for sin is death, and we were all born hopelessly in debt. He paid our debt in full by giving His life so that we might live forever.”

“Only the middle distance and what may be called the remoter foreground are strictly human. When we look very near or very far, man either vanishes altogether or loses his primacy. The astronomer looks even further afield than the Sung painter and sees even less of human life. At the other end of the scale the physicist, the chemist, the physiologist pursue the close-up – the cellular close-up, the molecular, the atomic and subatomic. Of that which, at twenty feet, even at arm’s length, looked and sounded like a human being no trace remains.Something analogous happens to the myopic artist and the happy lover. In the nuptial embrace personality is melted down; the individual (it is the recurrent theme of Lawrence’s poems and novels) ceases to be himself and becomes a part of the vast impersonal universe.And so it is with the artist who chooses to use his eyes at the near point. In his work humanity loses its importance, even disappears completely. Instead of men and women playing their fantastic tricks before high heaven, we are asked to consider the lilies, to meditate on the unearthly beauty of ‘mere things,’ when isolated from their utilitarian context and rendered as they are, in and for themselves. Alternatively (or, at an earlier stage of artistic development, exclusively), the nonhuman world of the near-point is rendered in patterns. These patterns are abstracted for the most part from leaves and flowers – the rose, the lotus, the acanthus, palm, papyrus – and are elaborated, with recurrences and variations, into something transportingly reminisce”