He was not a great original thinker; he lacked the creative faculty and the creative impulse.
If he was half as creative at torturing people and planning his battles as he was in bed, he was more than capable of doing it.
" In miracle no new powers, instituted or stimulated by God's creative action, are at work, but merely the general order of nature "; but " the manifold physical and spiritual powers in actual existence so blend together as to produce a startling result " (Dorner's System of Christian Doctrine, ii.
Polycarp had no creative genius.
We find here the consciousness of creative thought focused in a new principle which is to revolutionize speculative science.
Rothe regards the natural man as the consummation of the development of physical nature, and obtains spirit as the personal attainment, with divine help, of those beings in whom the further creative process of moral development is carried on.
The open source movement and Creative Commons licensing are examples of people willing to share their intellectual labor to help others.
The creative thought of the middle ages is clerical thought.
Without that degree of mental development and activity which perceives the necessity of superhuman creative power, no explanation of natural phenomena is possible.
Their creative religious ideas had become the common property of religious-minded Jews, at least in the somewhat imperfect shape in which they were embodied in the law, and their work on this side was carried on by the great religious, poets.
Every night, he had to be better than the night before: More creative, more sensitive to her body.
Did he need order in his world, because he was like Ashley, creative and absent-minded?
The second half of the 8th century seems to have been a time of very general decadence; but about the year Boo Theodore, destined to be the only other creative name in Greek monachism, became abbot of the monastery of the Studium in Constantinople.
The assertion preserved by Stobaeus that Thales recognized, together with the material element " water," " mind," which penetrates it and sets it in motion, is refuted by the precise testimony of Aristotle, who declares that the early physicists did not distinguish the moving cause from the material cause, and that before Hermotimus and Anaxagoras no one postulated a creative intelligence.
Brahma (n.) is the designation generally applied to the Supreme Soul (paramatman), or impersonal, all-embracing divine essence, the original source and ultimate goal of all that exists; Brahma (m.), on the other hand, is only one of the three hypostases of that divinity whose creative activity he represents, as distinguished from its preservative and destructive aspects, ever apparent in life and nature, and represented by the gods Vishnu and Siva respectively.
Yet this primordial creative nature is endowed with volition with regard to its own development.
In 1861 appeared Ober die Aufgabe der Naturphilosophie and ihr Verhdltnis zur Naturwissenschaft, which was, he declared, directed against the purely mechanical conception of the universe, and affirmed the necessity of a creative Power.
The rise of evolution, and the new scientific way of looking at nature and her creative methods, compelled him to rethink and reformulate his theistic principles and conclusions, especially as to the forms under which the relation of God to the world and His action within it could be conceived.
If indeed the earlier ages had been those of creative and spontaneous life, the Hellenistic age was that of conscious criticism and book-learning.
Whether God's action is creative, or only (selective and directive in miracles, is beyond our knowledge; we at least do not know the powers exercised, whether new or old.
With the loss of political liberty the age of creative genius in Athenian architecture came to a close.
It is the companion of God in His creative work, itself created before the world; in Ecclus.
He dwelt upon the illumination of the mind and soul by direct communion with the Creative Spirit; upon the spiritual and poetic monitions of external nature; and upon the benefit to man of a serene mood and a simple way of life.
Thus they regard the devil as the creative agent of the Supreme God, a reinstated fallen angel who is the author of evil.
While conspicuously lacking in creative genius, the Ottomans have always shown themselves possessed of receptive and assimilative powers to a remarkable degree, the result being that the number of their writers both in prose and verse is enormous.
These acts of consciousness are manifestations of will, which is the motive and creative power of the intellectual life.
In the ceremony of homage and investiture, which is the creative contract of feudalism, the obligations assumed by the two parties were, as a rule, not specified in exact terms. They were determined by local custom.
The doctrine of emanation is thus to be distinguished from the cosmogonic theory of Judaism and Christianity, which explains human existence as due to a single creative act of a moral agent.
Six days of creative activity, and the creative works are not six, but eight, if not ten in number, and indirect Babylonian influence is more strongly indicated.
For the position of this creative act is due to the necessity of bringing all the divine acts into the framework of six working days.
Although Rome wanted creative force to add a great series of tragic dramas to the literature of the world, yet the spirit of elevation and moral authority breathed into tragedy by Ennius passed into the ethical and didactic writings and the oratory of a later time.
The general results of the last fifty years of the first period (130 to 80) may be thus summed up. In poetry we have the satires of Lucilius, the tragedies of Accius and of a few successors among the Roman aristocracy, who thus exemplified the affinity of the Roman stage to Roman oratory; various annalistic poems intended to serve as continuations of the great poem of Ennius; minor poems of an epigrammatic and erotic character, unimportant anticipations of the Alexandrian tendency operative in the following period; works of criticism in trochaic tetrameters by Porcius Licinus and others, forming part of the critical and grammatical movement which almost from the first accompanied the creative movement in Latin literature, and which may be regarded as rude precursors of the didactic epistles that Horace devoted to literary criticism.
His greatest contribution to poetic art consisted in the perfection which he attained in the phalaecian, the pure iambic, and the scazon metres, and in the ease and grace with which he used the language of familiar intercourse, as distinct from that of the creative imagination, of the rostra, and of the schools, to give at once a lifelike and an artistic expression to his feelings.
The imitative impulse, which had much of the character of a creative impulse, and had resulted in the appropriation of the forms of poetry suited to the Roman and Italian character and of the metres suited to the genius of the Latin language, no longer stimulated to artistic effort.
In this way the Good was made to appear as an end imposed upon things from without by a creative intelligence instead of as an inner principle of adaptation.
But the new creative effort in language was accompanied by considerable crudeness of execution, and the novel word-formations and varieties of inflexion introduced by Pacuvius exposed him to the ridicule of the satirist Lucilius, and, long afterwards, to that of his imitator Persius.
The idea underlying these councils was to create, as it were, a certain constitution for factories by which the workman who had hitherto been a mere machine should become a creative factor, closely identified with the organization of the undertaking, conscious of responsibility, and thus making of democracy the same reality in economic life as it had already become in political life.
The Latin Renaissance in Italy aimed at recovering and verbally imitating the ancient literature; the Greek Renaissance in Germany sought inspiration from the creative originality of Greek literature with a view to producing an original literature in the German language.
There were crude medieval notions that fossils were " freaks " or " sports " of nature (lusus naturae), or that they represented failures of a creative force within the earth (a notion of Greek and Arabic origin), or that larger and smaller fossils represented the remains of races of giants or of pygmies (the mythical idea).
The elements of this Christian Latin language may be enumerated as follows: - (i.) it had its origin, not in the literary language of Rome as developed by Cicero, but in the language of the people as we find it in Plautus and Terence; (ii.) it has an African complexion; (iii.) it is strongly influenced by Greek, particularly through the Latin translation of the Septuagint and of the New Testament, besides being sprinkled with a large number of Greek words derived from the Scriptures or from the Greek liturgies; (iv.) it bears the stamp of the Gnostic style and contains also some military expressions; (v.) it owes something to the original creative power of Tertullian.
After an analysis of the religious consciousness, which yields the doctrine of an absolute personal and spiritual God, Rothe proceeds to deduce from his idea of God the process and history of creative development, which is eternally proceeding and bringing forth, as its unending purpose, worlds of spirits, partially self-creative and sharing the absolute personality of the Creator.
In no department did activity immediately stop; but the old freshness and creative exuberance was gone.
The English translations (Time and Free Will, Matter and Memory and Creative Evolution) all belong to 1910-1.
But when the Panama "scandal" has been forgotten, for centuries to come the traveller in saluting the statue of Ferdinand de Lesseps at the entrance of the Suez Canal will pay homage to one of the most powerful embodiments of the creative genius of the 19th century.
This appointment he owed chiefly to his work, Ober den Ursprung der menschlichen Seelen (1854), in which he maintained that the human soul was not implanted by a special creative act in each case, but was the result of a secondary creative act on the part of the parents: that soul as well as body, therefore, was subject to the laws of heredity.
In our survey of the career of Napoleon, we have now reached the time of the Consulate (November 1799 - May 1804), which marks the zenith of his mental powers and creative activity.
All creatures exist only through the continuous creative energy of the Divine Being, and are no more independent of his will than are our thoughts independent of us, - or rather less, for there are thoughts which force themselves upon us whether we will or not.
Both spirits possess creative power, which manifests itself positively in the one and negatively in the other.
Bundahish, 1, 4) encounter one another, their creative activity and at the same time their permanent conflict begin.
He had mastered his manner and, as one may say, learned his trade, in the exercise of criticism and the reflective parts of literature, before he surrendered himself to that powerful creative impulse which had long been tempting him, so that when, in mature life, he essayed the portraiture of invented character he came to it unhampered by any imperfection of language.
Hence it may be said that the universals are in the individuals, constituting their essential reality (and it is an express part of Erigena's system that the created but creative Word, the second division of Nature, should pass into the third stage of created and non-creating things); or rather, perhaps, we ought to say that the individuals exist in the bosom of their universal.
Though without claims to creative originality, Terence must have had not only critical genius, to enable him fully to appreciate and identify himself with his originals, but artistic genius of a high and pure type.
He makes no claim to the creative exuberance of Plautus, but he is entirely free from his extravagance and mannerisms. The superiority of his style over that of Lucilius, who wrote his satires a generation later, is immeasurable.
This abnormal condition necessitates a fresh creative act, that of salvation, which was, however, from the first, part of the divine plan.