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Section 12 reveals a deeply rooted system where a person's form dictates their place in society, leaving little room for individuality or change. In this structured world, one's geometric shape determines social status and moral worth. Circles, viewed as the highest class, uphold a doctrine claiming that the more symmetrical a figure, the more virtuous and intelligent it must be. Such a belief leaves no space for merit or effort, reducing identity to mathematical precision. Even minor irregularities, like…-
92.9 K • Ongoing
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Section 11 opens by revealing a tightly guarded secret: the full truth of Flatland is known only to the Chief Circle. This knowledge is passed down only once, from one Chief to his chosen successor, just before death. Even the factory responsible for maintaining this secret takes no chances—its workers are regularly replaced to eliminate any risk of exposure. Each year, those who labored are destroyed, and new individuals are brought in. Such measures reflect the extent to which power in Flatland is…
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Section 1 introduces a world unlike ours—Flatland—a place confined entirely to two dimensions. The name is not used by its inhabitants, but it serves to help three-dimensional readers understand the limitations of life in such a plane. Imagine a sheet of paper where geometric shapes—Lines, Triangles, Squares, and more—move freely along the surface. They cannot rise above or sink below it. These figures aren’t drawn or imagined; they are living, thinking beings, each defined by their sides and…
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Preface
Preface serves as a welcoming point of entry into the complex yet accessible philosophy of Henri Bergson. The original inspiration for the work came from two essays published in early 1912, and this expanded edition adds more continuity and depth to clarify points that may challenge first-time readers. The writer does not intend to critique Bergson’s thought academically, as the philosopher’s ideas continue to develop. Instead, the goal is to make Bergson’s vision understandable for a broader…-
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The Vinegar Tasters offers a playful yet insightful introduction to the Taoist philosophy through a whimsical dialogue between the narrator and Pooh. As Pooh expresses curiosity about Taoism, which he has heard of but doesn’t fully understand, the narrator crafts an imaginative journey to China to clarify this concept. They find themselves in a small shop full of allegorical scrolls and stumble upon a painting titled "The Vinegar Tasters." This artwork features three significant figures—Confucius,…-
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LETTER–To W. M. Thackeray
Letter to W. M. Thackeray opens with a tone free of rivalry or self-interest, allowing full appreciation of a writer whose literary grace has outlived the age that birthed it. Your work is remembered not as a product of duty, but of inspiration that struck with the urgency of truth. Unlike those who approach writing as mere occupation, you shaped your stories with the spirit of a wanderer who observed life from within and without. Critics who dismissed your vision as cold or cynical misunderstood the…-
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LETTER–To Theocritus
Letter to Theocritus opens with a quiet reverence for the music of your verse, the kind that lingers like honey on the tongue or like the scent of warm thyme on a sunlit hillside. You wrote not just about shepherds and nymphs, but about a way of life untouched by ambition and marked by simple, golden joys. One wonders if the afterlife, should it exist, ever matched the beauty of your Sicilian days or whether your soul still roams valleys framed by olive trees and distant blue seas. Your lines gave those…-
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Letter to Sir Walter Scott, Bart begins with a tone that feels both personal and respectful, as the writer draws an image of Scott that is more than just literary—he is described like an old friend, always present in the background of one’s imagination. This connection does not fade with time, for the warmth of Scott’s character, his fairness, and his almost selfless joy in life leave behind an impression that no history book could erase. Whether he had risen to fame or remained a quiet figure…
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LETTER–To Robert Burns
Letter to Robert Burns begins not with solemn tribute but with the familiar cadence of fondness, both for the man and the myth he became. You were not just Scotland’s poet—you were its pulse, its raw nerve, its laughter after loss. Your name, once printed in Kilmarnock, echoed far beyond the fields of Ayr, finding kinship in places where hearts break and songs rise to meet the pain. When Scots raise a glass in your name, it is not just nostalgia. It is recognition of something unshaped by…-
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LETTER–To Q. Horatius Flaccus
Letter to Q. Horatius Flaccus begins with a quiet, searching tone, reflecting on whether the poet, in whatever place death may have led him, still enjoys the charm of country walks and city wit. The question is gentle, almost rhetorical, asking not for doctrine but for imagination. What becomes of the mind so deeply tuned to beauty, friendship, and moderation? The letter doesn’t aim to solve the mystery of the afterlife—it accepts the uncertainty. Unlike Virgil’s bold journeys into shadowy realms,…-
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