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Quote by Achmad Aditya Avery

“Danau dengan air yang amat tenang permukaannya, tapi apa yang ada di dalamnya, ekosistem liar, habitat para monster, hening, dan dalam. Apa yang akan kamu rasakan ketika ada di dalamnya? Seseorang dengan emosi yang amat tenang di raut wajah dan sikapnya, tapi apa yang ada di dalamnya, goncangan kehidupan, pengalaman pahit, kesepian, dan depresi. Apa yang kamu rasakan ketika menjadi dirinya?”

Quote by Achmad Aditya Avery

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Achmad Aditya Avery

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“In that face, deformed by hatred of philosophy, I saw for the first time the portrait of the Antichrist, who does not come from the tribe of Judas, as his heralds have it, or from a far country. The Antichrist can be born from piety itself, from excessive love of God or of the truth, as the heretic is born from the saint and the possessed from the seer. Fear prophets, Adso, and those prepared to die for the truth, for as a rule they make many others die with them, often before them, at times instead of them. Jorge did a diabolical thing because he loved his truth so lewdly that he dared anything in order to destroy falsehood.”

ReligionChristianityFanaticismProphets
Book:The Name of the Rose
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“The mid-ninth-century thinker Anandavardhana, when arguing that it is rasa that makes literature literature, explains that it was to demonstrate this fact that “the grief of the first poet…was shown to be transformed into verse. For grief is the stable emotion of the tragic rasa.”11 The idea that the literary artwork is an expression of the author’s own emotion is summarized in an oft-quoted verse of Ananda’s: “If the poet is filled with passion, the whole world of his poem will consist of rasa; if not, it will be completely devoid of it.”

Rasa
Author:Sheldon Pollock
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“It can also be the rasa in the author that corresponds to the seed in the simile, the author being in this identical with the audience; this is why Anandavardhana has said, “If a poet is filled with passion, the whole world of his poem will consist of rasa”;217 the literary work would then correspond to the tree, with the various actions of the actor, his registers of acting, corresponding to the flowers and the like, and the savoring of rasa on the part of the audience to the fruit. Thereby the whole world consists of rasa.218…219 Hence, the gist of this discourse is that all three positions can somehow be accommodated, depending on the particular perspective one adopts.”

Rasa
Book:A Rasa Reader: Classical Indian Aesthetics
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