Shine On, Hermann Weyl --

"Be on the lookout for
Annie Dillard's sequel to

Teaching a Stone to Talk, titled
Teaching a Brick to Sing."

William Butler Yeats --

"Poets and Wits about him drew;

'What then?' sang Plato's ghost.
   'What then?'

'The work is done,'
   grown old he thought,

'According to my boyish plan;

Let the fools rage,
   I swerved in naught,

Something to perfection brought';

But louder sang that ghost,
   'What then?'"

In Grand Rapids today...

"... Bush spoke and answered audience
questions for nearly 90 minutes inside East Grand Rapids High School in
suburban Grand Rapids....

After leaving the school, Bush's motorcade stopped at
the Gerald R. Ford Presidential Museum in downtown Grand Rapids, where
he stood silently for a few moments after placing a bouquet of white
roses at Ford's burial site on the museum grounds. The 38th president,
who grew up in Grand Rapids, died Dec. 26 at age 93."

Multispeech

From the Library of Congress:

On April 19, 1775, troops under the command of
Brigadier General Hugh Percy played "Yankee Doodle" as they marched
from Boston to reinforce British soldiers already fighting the
Americans at Lexington and Concord. Whether sung or played on that occasion, the tune was martial and intended to deride the colonials:

Yankee Doodle came to town,
For to buy a firelock;
We will tar and feather him
And so we will John Hancock.

(CHORUS)
Yankee Doodle, keep it up,
Yankee Doodle Dandy,
Mind the Music and the step,
And with the girls be handy.

There are numerous conflicting accounts of the origin of "Yankee
Doodle." Some credit its melody to an English air, others to Irish,
Dutch, Hessian, Hungarian and Pyrenean tunes or a New England jig....

"Yankee Doodle" was well known in the New England colonies before
Lexington and Concord but only after the skirmishes there did the
American militia appropriate it. Tradition holds that the colonials
began to sing it as they forced the British back to Boston on April 19, 1775, after the battles of Lexington and Concord. It is documented that the Americans sang the following verse at Bunker Hill:

Father and I went down to camp,
along with Captain Good'in,
And there we see the men and boys
as thick as hasty puddin'. 

From 30 Rock:

"Thanks to you, I die like Jesus Christ, to inspire generations of the weak and the defenseless people.''

"It's not for me. For my children, for my brothers and sisters... I did it for them.''

From Log24:

Eureka!

The Abridgment of Hope

Part I: Framework

From Log24,
Here's Your Sign,
Aug. 8, 2002--

"Paz also mentions the Christian
concept of eternity as a realm outside time, and discusses what
happened to modern thought after it abandoned the concept of eternity.

Naturally, many writers have dealt with the subject of time, but it seems particularly part of the Zeitgeist
now, with a new Spielberg film about precognition.  My own small
experience, from last night until today, may or may not have been
precognitive.  I suspect it's the sort of thing that many people often
experience, a sort of 'So that's what that was about' feeling.  Traditionally, such experience has been expressed in terms of a theological framework."

Part II: Context

From Ann Copeland,
"Faith and Fiction-Making:

The Catholic Context"--

"Each of us is living out a once-only story which, unlike those mentioned here, has yet
to reveal its ending. We live that story largely in the dark. From time to time we may try
to plumb its implications, to decipher its latent design, or at least get a glimmer of how
parts go together. Occasionally, a backward glance may suddenly reveal implications, an
evolving pattern we had not discerned, couldn't have when we were 'in' it. Ah,
now I see what I was about, what I was after."

Part III: Context Sensitivity

From Wikipedia--

 Part IV: Abridgment

"Know the one about the Demiurge and the Abridgment of Hope?"

-- Robert Stone, A Flag for Sunrise, Knopf, 1981, the final page, 439

Also from Stone's novel, quoted by Ann Copeland in the above essay: