A Quote by R. C. Sproul

We prefer the shadows where we feel safe over the light which exposes us and causes us to say 'woe is me!' — © R. C. Sproul
We prefer the shadows where we feel safe over the light which exposes us and causes us to say 'woe is me!'
I hear there are people who actually enjoy moving. Sounds like a disease to me - they must be unstable. Though it does have it’s poetry, I’ll allow that. When an old dwelling starts looking desolate, a mixture of regret and anxiety comes over us and we feel like we are leaving a safe harbor for the rolling sea. As for the new place, it looks on us with alien eyes, it has nothing to say to us, it is cold.
We sometimes feel the shadows have got hold of us, the shadows of evil. But still, it's up to us to fight.
That which causes us trials shall yield us triumph: and that which make our hearts ache shall fill us with gladness. The only true happiness is to learn, to advance, and to improve: which could not happen unless we had commenced with error, ignorance, and imperfection. We must pass through the darkness, to reach the light.
Song in the Manner of Housman" O woe, woe, People are born and die, We also shall be dead pretty soon Therefore let us act as if we were dead already. The bird sits on the hawthorn tree But he dies also, presently. Some lads get hung, and some get shot. Woeful is this human lot. Woe! woe, etcetera.... London is a woeful place, Shropshire is much pleasanter. Then let us smile a little space Upon fond nature's morbid grace. Oh, Woe, woe, woe, etcetera.
We feel our shell keeps us safe, but it crushes us and others, and keeps out light and sun.
And with a little sense of humor we can say that there are Christian bats who prefer the shadows to the light of the presence of the Lord.
The light that has guided us is still unquenched, and the causes that have carried us so far in the van of free nations have not spent their power; because the story of the future is written in the past, and that which hath been is the same thing that shall be.
More than by fear of going astray, my hope is that we will be moved by the fear of remaining shut up within structures which give us a false sense of security, within rules which make us harsh judges, within habits which make us feel safe, while at our door people are starving and Jesus does not tire of saying to us: 'Give them something to eat.'
Some feelings are quite untranslatable; no language has yet been found for them. They gleam upon us beautifully through the dim twilight of fancy, and yet when we bring them close to us, and hold them up to the light of reason, lose their beauty all at once, as glow worms which gleam with such a spiritual light in the shadows of evening, when brought in where the candles are lighted, are found to be only worms like so many others.
It is weakness which makes us hate an enemy and seek revenge, and it is idleness that pacifies us and causes us to neglect it.
The Spirit bears witness. Ecstasy and enlightenment, inspiration and intuition are not necessary. Happy is the man who is worthy of these; but woe unto us if we wait for such experiences; woe unto us if we do not perceive that these things are of secondary importance.
Where I say that He abideth sorrowfully and moaning, it meaneth all the true feeling that we have in our self, in contrition and compassion, and all sorrowing and moaning that we are not oned with our Lord. And all such that is speedful, it is Christ in us. And though some of us feel it seldom, it passeth never from Christ till what time He hath brought us out of all our woe. For love suffereth never to be without pity.
We haven't developed what some have called the precautionary principle which will say look, if there's a reason, if a product is safe, that's fine, but it's really the responsibility of an industry to tell us it's safe and to make sure it's safe. It's not our responsibility to wait until the damage is done.
What the art historians had forgotten is that in Chinese, Japanese, Persian, and Indian art, they never painted shadows. Why did they paint shadows in European art? Shadows are because of optics. Optics need shadows and strong light. Strong light makes the deepest shadows. It took me a few years to realize fully that the art historians didn't grasp that. There are a lot of interesting new things, ideas, pictures.
Not only does a journey transport us over enormous distances, it also causes us to move a few degrees up or down in the social scale. It displaces us physically and also for better or for worse takes us out of our class context, so that the colour and flavour of certain places cannot be dissociated from the always unexpected social level on which we find ourselves in experiencing them.
The same refinement which brings us new pleasures exposes us to new pains.
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