Annabeth:My fatal flaw. That's what the Sirens showed me. My fatal flaw is hubris. Percy: the brown stuff they spread on veggie sandwiches? Annabeth:No, Seaweed Brain. That's HUMMUS. hubris is worse. Percy: what could be worse than hummus? Annabeth: Hubris means deadly pride, Percy. Thinking you can do things better than anyone else... Even the gods.
Don't you ever feel like, what if the world really IS messed up? What if we COULD Do it all over again from scratch? No more war. Nobody homeless. No more summer reading homework. 'm listening. Annabeth: I mean, the West represents a lot of the best things mankind ever did--that's why the fire is still burning. That's why OlympusIs still around. But sometimes you just see the bad stuff, you know? And you start thinking the way Luke does: 'If I could tear this all down, i would do it better.'. Don't you ever feel that way? Like YOU could do a better job I'd you ran the world? Percy:Um...no. Me running the world would be kind of a nightmare. Annabeth: then you're lucky. Hubris isn't your fatal flaw. Percy: what is? Annabeth: I don't know, Percy, but every hero has one. If you don't find it and learn to control it...well, they don't call it 'fatal' for nothing. Percy(thinking to himself): I thought about that. It didn't exactly cheer me up.
The true artist will let his wife starve, his children go barefoot, his mother drudge for his living at seventy, sooner than work at anything but his art. To women he is half vivisector, half vampire. He gets into intimate relations with them to study them, to strip the mask of convention from them, to surprise their inmost secrets, knowing that they have the power to rouse his deepest creative energies, to rescue him from his cold reason, to make him see visions and dream dreams, to inspire him, as he calls it. He persuades women that they may do this for their own purpose whilst he really means them to do it for his. He steals the mother's milk and blackens it to make printer's ink to scoff at her and glorify ideal women with. He pretends to spare her the pangs of child-bearing so that he may have for himself the tenderness and fostering that belong of right to her children. Since marriage began, the great artist has been known as a bad husband. But he is worse: he is a child-robber, a blood-sucker, a hypocrite, and a cheat. Perish the race and wither a thousand women if only the sacrifice of them enable him to act Hamlet better, to paint a finer picture, to write a deeper poem, a greater play, a profounder philosophy! For mark you, Tavy, the artist's work is to shew us ourselves as we really are. Our minds are nothing but this knowledge of ourselves; and he who adds a jot to such knowledge creates new mind as surely as any woman creates new men. In the rage of that creation he is as ruthless as the woman, as dangerous to her as she to him, and as horribly fascinating. Of all human struggles there is none so treacherous and remorseless as the struggle between the artist man and the mother woman. Which shall use up the other? that is the issue between them. And it is all the deadlier because, in your romanticist cant, they love one another.
In the same way that the picturesque designers were always careful to include some reminder of our mortality in their gardens -- a ruin, sometimes even a dead tree -- the act of leaving parts of the garden untended, and calling attention to its margins, seems to undermine any pretense to perfect power or wisdom on the part of the gardener. The margins of our gardens can be tropes too, but figures of irony rather than transcendence -- antidotes, in fact, to our hubris. It may be in the margins of our gardens that we can discover fresh ways to bring our aesthetics and our ethics about the land into some meaningful alignment.
Can anything be imagined so ridiculous, that this miserable and wretched creature [man], who is not so much as master of himself, but subject to the injuries of all things, should call himself master and emperor of the world, of which he has not power to know the least part, much less to command the whole?
"Someone with a low degree of epistemic arrogance is not too visible, like a shy person at a cocktail party. We are not predisposed to respect humble people, those who try to suspend judgement. Now contemplate epistemic humility. Think of someone heavily introspective, tortured by the awareness of his own ignorance. He lacks the courage of the idiot, yet has the rare guts to say "I don't know." He does not mind looking like a fool or, worse, an ignoramus. He hesitates, he will not commit, and he agonizes over the consequences of being wrong. He introspects, introspects, and introspects until he reaches physical and nervous exhaustion. This does not necessarily mean he lacks confidence, only that he holds his own knowledge to be suspect. I will call such a person an epistemocrat; the province where the laws are structured with this kind of human fallibility in mind I will can an epistemocracy."
The irony of informing nearly naked people in a wilderness setting about the story of naked Adam and Eve eating the fruit of knowledge and inventing the fashion industry due to a sudden need for clothing to hide their shame is not lost on Williams.