The Illusion of Immortality: Corliss Lamont, John Dewey …

In clear and unflinching language, Dr. Corliss Lamont states the case for human mortality--the finality of death. But, he argues, the illusion of immortality is an affirmative vision, not a negative one.

"Extraordinarily complete and well informed...worthy of the serious attention of all thoughtful persons." (John Dewey)

Born in Englewood, New Jersey, in 1902, Dr. Lamont graduated first from Phillips Exeter Academy in 1920, then magna cum laude from Harvard University in 1924. He did graduate work at Oxford and at Columbia, where he received his Ph.D. in philosophy in 1932.

He was director of the American Civil Liberties Union from 1932 to 1954, and is currently chairman of the national Emergency Civil Liberties Committee. A leading proponent of the individual's rights under the Constitution, he has won famous court decisions over Senator Joseph McCarthy, the CIA, and in 1965 a Supreme Court ruling against censorship of incoming mail by the U.S. Postmaster General.

Dr. Lamont has long been associated with Humanism, and authored the standard text on the subject, The Philosophy of Humanism, in 1949. He taught at Columbia, Cornell, and Harvard Universities, and at the New School for Social Research. Corliss Lamont is currently honorary president of the American Humanist Association.

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The Illusion of Immortality: Corliss Lamont, John Dewey ...

THE AGEBEATERS and Their Universal Currency for …

"The Agebeaters" book review by Dr. James a. Kholos The strenght of this book lies in its scholarship on the subjects of man's relationship to minerals and evolution. In a comparable treatment of animal studies with clinical outcome from human trials, the authors paint a broad spectrum of pathological illness increasingly bedeviling modern civilizations around the world. One culprit is the failure of man's mismanagement of soil conservation. Many other nations around the world are equally unable to maintain adequate wood-ash mineral content; therefore, as a consequence wood energy replacement with electricity and nuclear power reduces human uptake of vital minerals causing deficiency, disease and death. To rebalance what ancient man wrought by hand tools, meagerly surviving against climatic changes, we have sunken into an age of diminishing resources, from the ignorance of mineral deficiency now threatening survival itself. The authors advocate changing our lifestyles, by examples from pioneers in history who like Luigi Cornaro, born in Venice, Italy in 1464, refocused his intentions from living glutinously near death at 37 to fulfilling his quest for a healthy long life, adding 66 robust years remaining industrious to the very end, dying peacefully in 1567 at 103. Other detailed information on plants, minerals, history-philosophy and nutrition is for the serious student, as its readability may be a bit high for the unfamiliar. The gift of the authors is in the wisdom that what we don't know defines what we are certain about. The same themes repeat throughout the text so the message is driven home regarding calorie restriction increasing immortality through nutrition and supplementation. Worth reading and inspirational! Dr. Wallach's remarkable contribution highlights naturopathic research from herbal holistic medicine from the past to the present. --Book Review by Dr. James A. Kholos

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THE AGEBEATERS and Their Universal Currency for ...

Immortality: The Quest to Live Forever and How It Drives …

Cave has produced a strikingly original and compelling exploration of the age-old conundrum: Can we live forever, and do we really want to?John Horgan, science journalist and author of The End of War

Immortality is a fascinating history of mans greatest obsession and poses a stunning theory of society. The Daily Beast

In Immortality Stephen Cave tells wonderful stories about one of humanitys oldest desires and comes to a wise conclusion. Stefan Klein, author of The Science of Happiness and The Secret Pulse of Time

A beautifully clear and entertaining look at life after death. Cave does not shrink from the hard questions. Bold and thought-provoking. Eric Olson, author of The Human Animal and What Are We?

A must-read exploration of what spurs human ingenuity. Every once in a while a book comes along that catches me by surprise and provides me with an entirely new lens through which to view the world. . . . Such is the case with Stephen Caves book Immortality. . . . Cave presents an extremely compelling caseone that has changed my view of the driving force of civilization as much as Jared Diamond did years ago with his brilliant book Guns, Germs and Steel.S. Jay Olshanksy, New Scientist magazine

Informed and metaphysically nuanced. . . . Cave presents his arguments in a brisk, engaging style, and draws effectively upon a wide-ranging stock of religious, philosophical, and scientific sources, both ancient and contemporary. Weekly Standard

In his survey of the subject, Stephen Cave, a British philosopher, argues that mans various tales of immortality can be boiled down into four basic narratives. . . . For the aspiring undying, Mr Cave unfortunately concludes that immortality is a mirage. But his demolition project is fascinating in its own right. . . . If anything, readers might want more of Mr. Caves crisp conversational prose. The Economist

Cave explains how the seeking of immortality is the foundation of human achievement, the wellspring of art, religion and civilization. . . . .The author is rangy and recondite, searching the byways of elixirs, the surprises of alchemy, the faith in engineering and all the wonder to be found in discussions of life and death. . . . Luminous. Kirkus Reviews

A dramatic and frequently surprising story of the pursuit of immortality and its effects on human history. Booklist

Cave is smart, lucid, elegant and original. Immortality is an engaging read about our oldest obsession, and how that obsession propels some of our greatest accomplishments. Greg Critser, author of Eternity Soup

An epic inquiry into the human desire to defy deathand how to overcome it. Cave traces the histories of each of his four immortality narratives through the worlds great religions, heroes, leaders, thinkers and stories. Its an epic tale of human folly, featuring a cast of characters including Gilgamesh, Dante, Frankenstein, the King of Qin, Alexander the Great and the Dalai Lama. Cave, a Berlin-based writer and former diplomat, is an admirably clear elucidator, stripping down arguments to their essences and recounting them without any unnecessary jargon. The Financial Times

Immortality plumbs the depths of the human mind and ties the quest for the infinite prolongation of life into the very nature of civilization itself. Cave reveals remarkable depth and breadth of learning, yet is always a breeze to read. I thoroughly enjoyed his bookits a really intriguing study. David Boyd Haycock, author of Mortal Coil and A Crisis of Brilliance

[Caves] sort of nonfiction writing is exciting. It gets the juices flowing and draws one into the material. What Cave does so well throughout Immortality is to take the reader by the hand and carefully guide her or him through each concept, ensuring understanding before exploring assorted variations and difficulties. Hes writing for searchers, not people collecting knock em-dead refutations of positions theyve already rejected. And his appeal is to intellectual curiosity. The Humanist

I loved this. Cave has set himself an enormous task and accomplished itin spades. Establishing a four-level subject matter, he has stuck to his guns and never let up. As he left one level and went to the next, I was always a little worried: Would he be able to pull it off? This was especially true as he approached the end. There is a sense in which each level, as he left it smoking in the road, looked easy as he started the next. In fact, the last level, while it is the most difficult, is the best, the most satisfying. I am happy to live in the world Cave describes. Charles Van Doren, author of A History of Knowledge

This book by Stephen Cave offers a helpful framework for understanding the various different kinds of immortality. Cave employs this framework to analyze these types of immortality and to argue that the quest for immortality is misguided. Caves insights throughout the book are deep, and his argumentation is compelling and well-informed by all of the relevant literature. It is also a beautifully written and highly accessible book. I recommend it highly.John Martin Fischer leader of the Templeton Foundation's Immortality Project, and author of Near-Death Experiences

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Immortality: The Quest to Live Forever and How It Drives ...

Ode: Intimations of Immortality – Wikipedia

"Ode: Intimations of Immortality from Recollections of Early Childhood" (also known as "Ode", "Immortality Ode" or "Great Ode") is a poem by William Wordsworth, completed in 1804 and published in Poems, in Two Volumes (1807). The poem was completed in two parts, with the first four stanzas written among a series of poems composed in 1802 about childhood. The first part of the poem was completed on 27 March 1802 and a copy was provided to Wordsworth's friend and fellow poet, Samuel Taylor Coleridge, who responded with his own poem, "Dejection: An Ode", in April. The fourth stanza of the ode ends with a question, and Wordsworth was finally able to answer it with seven additional stanzas completed in early 1804. It was first printed as "Ode" in 1807, and it was not until 1815 that it was edited and reworked to the version that is currently known, "Ode: Intimations of Immortality".

The poem is an irregular Pindaric ode in 11 stanzas that combines aspects of Coleridge's Conversation poems, the religious sentiments of the Bible and the works of Saint Augustine, and aspects of the elegiac and apocalyptic traditions. It is split into three movements: the first four stanzas discuss death, and the loss of youth and innocence; the second four stanzas describes how age causes man to lose sight of the divine, and the final three stanzas express hope that the memory of the divine allow us to sympathise with our fellow man. The poem relies on the concept of pre-existence, the idea that the soul existed before the body, to connect children with the ability to witness the divine within nature. As children mature, they become more worldly and lose this divine vision, and the ode reveals Wordsworth's understanding of psychological development that is also found in his poems The Prelude and Tintern Abbey. Wordsworth's praise of the child as the "best philosopher" was criticised by Coleridge and became the source of later critical discussion.

Modern critics sometimes have referred to Wordsworth's poem as the "Great Ode"[1][2] and ranked it among his best poems,[3] but this wasn't always the case. Contemporary reviews of the poem were mixed, with many reviewers attacking the work or, like Lord Byron, dismissing the work without analysis. The critics felt that Wordsworth's subject matter was too "low" and some felt that the emphasis on childhood was misplaced. Among the Romantic poets, most praised various aspects of the poem however. By the Victorian period, most reviews of the ode were positive with only John Ruskin taking a strong negative stance against the poem. The poem continued to be well received into the 20th century, with few exceptions. The majority ranked it as one of Wordsworth's greatest poems.

A divine morning at Breakfast Wm wrote part of an ode Mr Olliff sent the Dung & Wm went to work in the garden we sate all day in the Orchard.

In 1802, Wordsworth wrote many poems that dealt with his youth. These poems were partly inspired by his conversations with his sister, Dorothy, whom he was living with in the Lake District at the time. The poems, beginning with "The Butterfly" and ending with "To the Cuckoo", were all based on Wordsworth's recalling both the sensory and emotional experience of his childhood. From "To the Cuckoo", he moved on to "The Rainbow", both written on 26 March 1802, and then on to "Ode: Intimation of Immortality from Recollections of Early Childhood". As he moved from poem to poem, he began to question why, as a child, he once was able to see an immortal presence within nature but as an adult that was fading away except in the few moments he was able to meditate on experiences found in poems like "To the Cuckoo". While sitting at breakfast on 27 March, he began to compose the ode. He was able to write four stanzas that put forth the question about the faded image and ended, "Where is it now, the glory and the dream?" The poem would remain in its smaller, four-stanza version until 1804.[5]

The short version of the ode was possibly finished in one day because Wordsworth left the next day to spend time with Samuel Taylor Coleridge in Keswick.[6] Close to the time Wordsworth and Coleridge climbed the Skiddaw mountain, 3 April 1802, Wordsworth recited the four stanzas of the ode that were completed. The poem impressed Coleridge,[7] and, while with Wordsworth, he was able to provide his response to the ode's question within an early draft of his poem, "Dejection: An Ode".[8] In early 1804, Wordsworth was able to return his attention to working on the ode. It was a busy beginning of the year with Wordsworth having to help Dorothy recover from an illness in addition to writing his poems. The exact time of composition is unknown, but it probably followed his work on The Prelude, which consumed much of February and was finished on 17 March. Many of the lines of the ode are similar to the lines of The Prelude Book V, and he used the rest of the ode to try to answer the question at the end of the fourth stanza.[9]

The poem was first printed in full for Wordsworth's 1807 collection of poems, Poems, in Two Volumes, under the title "Ode".[10] It was the last poem of the second volume of the work,[11] and it had its own title page separating it from the rest of the poems, including the previous poem "Peele Castle". Wordsworth added an epigraph just before publication, "paul majora canamus". The Latin phrase is from Virgil's Eclogue 4, meaning "let us sing a somewhat loftier song".[12] The poem was reprinted under its full title "Ode: Intimation of Immortality from Recollections of Early Childhood" for Wordsworth's collection Poems (1815). The reprinted version also contained an epigraph that, according to Henry Crabb Robinson, was added at Crabb's suggestion.[10] The epigraph was from "My Heart Leaps Up".[13] In 1820, Wordsworth issued The Miscellaneous Poems of William Wordsworth that collected the poems he wished to be preserved with an emphasis on ordering the poems, revising the text, and including prose that would provide the theory behind the text. The ode was the final poem of the fourth and final book, and it had its own title-page, suggesting that it was intended as the poem that would serve to represent the completion of his poetic abilities. The 1820 version also had some revisions,[14] including the removal of lines 140 and 141.[15]

The poem uses an irregular form of the Pindaric ode in 11 stanzas. The lengths of the lines and of the stanzas vary throughout the text, and the poem begins with an iambic meter. The irregularities increase throughout the poem and Stanza IX lacks a regular form before being replaced with a march-like meter in the final two stanzas. The poem also contains multiple enjambments and there is a use of an ABAB rhyme scheme that gives the poem a singsong quality. By the end of the poem, the rhymes start to become as irregular in a similar way to the meter, and the irregular Stanza IX closes with an iambic couplet. The purpose of the change in rhythm, rhyme, and style is to match the emotions expressed in the poem as it develops from idea to idea. The narration of the poem is in the style of an interior monologue,[16] and there are many aspects of the poem that connects it to Coleridge's style of poetry called "Conversation poems", especially the poem's reliance on a one sided discussion that expects a response that never comes.[17] There is also a more traditional original of the discussion style of the poem, as many of the prophetic aspects of the poem are related to the Old Testament of the Bible.[18] Additionally, the reflective and questioning aspects are similar to the Psalms and the works of Saint Augustine, and the ode contains what is reminiscent of Hebrew prayer.[19]

In terms of genre, the poem is an ode, which makes it a poem that is both prayer and contains a celebration of its subject. However, this celebration is mixed with questioning and this hinders the continuity of the poem.[20] The poem is also related to the elegy in that it mourns the loss of childhood vision,[21] and the title page of the 1807 edition emphasises the influence of Virgil's Eclogue 4.[22] Wordsworth's use of the elegy, in his poems including the "Lucy" poems, parts of The Excursion, and others, focus on individuals that protect themselves from a sense of loss by turning to nature or time. He also rejects any kind of fantasy that would take him away from reality while accepting both death and the loss of his own abilities to time while mourning over the loss.[23] However, the elegy is traditionally a private poem while Wordsworth's ode is more public in nature.[24] The poem is also related to the genre of apocalyptic writing in that it focuses on what is seen or the lack of sight. Such poems emphasise the optical sense and were common to many poems written by the Romantic poets, including his own poem The Ruined Cottage, Coleridge's "Dejection: An Ode" and Rime of the Ancient Mariner and Percy Bysshe Shelley's "Hymn to Intellectual Beauty" and "The Zucca".[25]

The ode contains 11 stanzas split into three movements. The first movement is four stanzas long and discusses the narrator's inability to see the divine glory of nature, the problem of the poem. The second movement is four stanzas long and has a negative response to the problem. The third movement is three stanzas long and contains a positive response to the problem.[26] The ode begins by contrasting the narrator's view of the world as a child and as a man, with what was once a life interconnected to the divine fading away:[27]

There was a time when meadow, grove, and stream,The earth, and every common sight,To me did seemApparelled in celestial light,The glory and the freshness of a dream.It is not now as it hath been of yore;Turn wheresoe'er I may,By night or day,The things which I have seen I now can see no more. (lines 19)

In the second and third stanzas, the narrator continues by describing his surroundings and various aspects of nature that he is no longer able to feel. He feels as if he is separated from the rest of nature until he experiences a moment that brings about feelings of joy that are able to overcome his despair:[28]

To me alone there came a thought of grief:A timely utterance gave that thought relief,And I again am strong:The cataracts blow their trumpets from the steep;No more shall grief of mine the season wrong; (lines 2226)

The joy in stanza III slowly fades again in stanza IV as the narrator feels like there is "something that is gone".[28] As the stanza ends, the narrator asks two different questions to end the first movement of the poem. Though they appear to be similar, one asks where the visions are now ("Where is it now") while the other doesn't ("Whither is fled"), and they leave open the possibility that the visions could return:[29]

A single Field which I have looked upon,Both of them speak of something that is gone:The Pansy at my feetDoth the same tale repeat:Whither is fled the visionary gleam?Where is it now, the glory and the dream? (lines 5257)

The second movement begins in stanza V by answering the question of stanza IV by describing a Platonic system of pre-existence. The narrator explains how humans start in an ideal world that slowly fades into a shadowy life:[28]

Our birth is but a sleep and a forgetting:The Soul that rises with us, our life's Star,Hath had elsewhere its setting,And cometh from afar:Not in entire forgetfulness,And not in utter nakedness,But trailing clouds of glory do we comeFrom God, who is our home:Heaven lies about us in our infancy!Shades of the prison-house begin to closeUpon the growing Boy,But He beholds the light, and whence it flows,He sees it in his joy; (lines 5870)

Before the light fades away as the child matures, the narrator emphasises the greatness of the child experiencing the feelings. By the beginning of stanza VIII, the child is described as a great individual,[30] and the stanza is written in the form of a prayer that praises the attributes of children:[31]

Thou, whose exterior semblance doth belieThy Soul's immensity;Thou best Philosopher, who yet dost keepThy heritage, thou Eye among the blind,That, deaf and silent, read'st the eternal deep,Haunted for ever by the eternal mind, Mighty Prophet! Seer blest!On whom those truths do rest,Which we are toiling all our lives to find,In darkness lost, the darkness of the grave; (lines 108117)

The end of stanza VIII brings about the end of a second movement within the poem. The glories of nature are only described as existing in the past, and the child's understanding of morality is already causing them to lose what they once had:[29]

Full soon thy Soul shall have her earthly freight,And custom lie upon thee with a weight,Heavy as frost, and deep almost as life! (lines 129131)

The questions in Stanza IV are answered with words of despair in the second movement, but the third movement is filled with joy.[26] Stanza IX contains a mixture of affirmation of life and faith as it seemingly avoids discussing what is lost.[30] The stanza describes how a child is able to see what others do not see because children do not comprehend mortality, and the imagination allows an adult to intimate immortality and bond with his fellow man:[32]

Hence in a season of calm weatherThough inland far we be,Our Souls have sight of that immortal seaWhich brought us hither,Can in a moment travel thither,And see the Children sport upon the shore,And hear the mighty waters rolling evermore. (lines 164170)

The children on the shore represents the adult narrator's recollection of childhood, and the recollection allows for an intimation of returning to that mental state. In stanza XI, the imagination allows one to know that there are limits to the world, but it also allows for a return to a state of sympathy with the world lacking any questions or concerns:[33]

The Clouds that gather round the setting sunDo take a sober colouring from an eyeThat hath kept watch o'er man's mortality;Another race hath been, and other palms are won. (lines 199202)

The poem concludes with an affirmation that, though changed by time, the narrator is able to be the same person he once was:[34]

Thanks to the human heart by which we live,Thanks to its tenderness, its joys, and fears,To me the meanest flower that blows can giveThoughts that do often lie too deep for tears. (lines 203206)

The first version of the ode is similar to many of Wordsworth's spring 1802 poems. The ode is like To the Cuckoo in that both poems discuss aspects of nature common to the end of spring. Both poems were not crafted at times that the natural imagery could take place, so Wordsworth had to rely on his imagination to determine the scene. Wordsworth refers to "A timely utterance" in the third stanza, possibly the same event found in his The Rainbow, and the ode contains feelings of regret that the experience must end. This regret is joined with feelings of uneasiness that he no longer feels the same way he did as a boy. The ode reflects Wordsworth's darker feelings that he could no longer return to a peaceful state with nature. This gloomy feeling is also present in The Ruined Cottage and in Tintern Abbey.[35] Of the other 1802 poems, the ode is different from his Resolution and Independence, a poem that describes the qualities needed to become a great poet. The poem argued that a poet should not be excessive or irresponsible in behaviour and contains a sense of assurance that is not found within the original four stanzas. Instead, there is a search for such a feeling but the poem ends without certainty, which relates the ode to Coleridge's poem Dejection: An Ode.[36] When read together, Coleridge's and Wordsworth's poem form a dialogue with an emphasis on the poet's relationship with nature and humanity. However, Wordsworth's original four stanzas describing a loss is made darker in Coleridge and, to Coleridge, only humanity and love are able to help the poet.[37]

While with Wordsworth, Coleridge was able to read the poem and provide his response to the ode's question within an early draft of his poem, Dejection: an Ode. Coleridge's answer was to claim that the glory was the soul and it is a subjective answer to the question. Wordsworth took a different path as he sought to answer the poem, which was to declare that childhood contained the remnants of a beatific state and that being able to experience the beauty that remained later was something to be thankful for. The difference between the two could be attributed to the differences in the poets' childhood experiences; Coleridge suffered from various pain in his youth whereas Wordsworth's was far more pleasant. It is possible that Coleridge's earlier poem, The Mad Monk (1800) influenced the opening of the ode and that discussions between Dorothy and Wordsworth about Coleridge's childhood and painful life were influences on the crafting of the opening stanza of the poem.[38] However, the message in the ode, as with Tintern Abbey, describes the pain and suffering of life as able to dull the memory of early joy from nature but it is unable to completely destroy it.[39] The suffering leads Wordsworth to recognise what is soothing in nature, and he credits the pain as leading to a philosophical understanding of the world.[40]

The poem is similar to the conversation poems created by Coleridge, including Dejection: An Ode. The poems were not real conversations as there is no response to the narrator of the poem, but they are written as if there would be a response. The poems seek to have a response, though it never comes, and the possibility of such a voice though absence is a type of prosopopoeia. In general, Coleridge's poems discuss the cosmic as they long for a response, and it is this aspect, not a possible object of the conversation, that forms the power of the poem. Wordsworth took up the form in both Tintern Abbey and Ode: Intimations of Immortality, but he lacks the generous treatment of the narrator as found in Coleridge's poems. As a whole, Wordsworth's technique is impersonal and more logical, and the narrator is placed in the same position as the object of the conversation. The narrator of Wordsworth is more self-interested and any object beyond the narrator is kept without a possible voice and is turned into a second self of the poet. As such, the conversation has one of the participants lose his identity for the sake of the other and that individual represents loss and mortality.[41]

The expanded portion of the ode is related to the ideas expressed in Wordsworth's The Prelude Book V in their emphasis on childhood memories and a connection between the divine and humanity. To Wordsworth, the soul was created by the divine and was able to recognise the light in the world. As a person ages, they are no longer able to see the light, but they can still recognise the beauty in the world.[42] He elaborated on this belief in a note to the text: "Archimedes said that he could move the world if he had a point whereon to rest his machine. Who has not felt the same aspirations as regards the world of his own mind? Having to wield some of its elements when I was impelled to write this poem on the "Immortality of the Soul", I took hold of the notion of pre-existence as having sufficient foundation in humanity for authorising me to make for my purpose the best use I could of it as a Poet."[43] This "notion of pre-existence" is somewhat Platonic in nature, and it is the basis for Wordsworth believing that children are able to be the "best philosopher".[44] The idea was not intended as a type of metempsychosis, the reincarnation of the soul from person to person, and Wordsworth later explained that the poem was not meant to be regarded as a complete philosophical view: "In my Ode... I do not profess to give a literal representation of the state of the affections and of the moral being in childhood. I record my feelings at that time,--my absolute spirituality, my 'all-soulness,' if I may so speak. At that time I could not believe that I should lie down quietly in the grave, and that my body would moulder into dust."[45]

Wordsworth's explanation of the origin of the poem suggests that it was inspiration and passion that led to the ode's composition, and he later said that the poem was to deal with the loss of sensations and a desire to overcome the natural process of death. As for the specific passages in the poem that answer the question of the early version, two of the stanzas describe what it is like to be a child in a similar manner to his earlier poem, "To Hartley Coleridge, Six Years Old" dedicated to Coleridge's son. In the previous poem, the subject was Hartley's inability to understand death as an end to life or a separation. In the ode, the child is Wordsworth and, like Hartley or the girl described in "We are Seven", he too was unable to understand death and that inability is transformed into a metaphor for childish feelings. The later stanzas also deal with personal feelings but emphasise Wordsworth's appreciation for being able to experience the spiritual parts of the world and a desire to know what remains after the passion of childhood sensations are gone.[46] This emphasis of the self places mankind in the position of the object of prayer, possibly replacing a celebration of Christ's birth with a celebration of his own as the poem describes mankind coming from the eternal down to earth. Although this emphasis seems non-Christian, many of the poem's images are Judeo-Christian in origin.[47] Additionally, the Platonic theory of pre-existence is related to the Christian understanding of the Incarnation, which is a connection that Shelley drops when he reuses many of Wordsworth's ideas in The Triumph of Life.[48]

The idea of pre-existence within the poem contains only a limited theological component, and Wordsworth later believed that the concept was "far too shadowy a notion to be recommended to faith."[49] In 1989, Gene Ruoff argued that the idea was connected to Christian theology in that the Christian theorist Origen adopted the belief and relied on it in the development of Christian doctrine. What is missing in Origen's platonic system is Wordsworth's emphasis on childhood, which could be found in the beliefs of the Cambridge Platonists and their works, including Henry Vaughan's "The Retreate".[50] Even if the idea is not Christian, it still cannot be said that the poem lacks a theological component because the poem incorporates spiritual images of natural scenes found in childhood.[51] Among those natural scenes, the narrator includes a Hebrew prayer-like praise of God for the restoration of the soul to the body in the morning and the attributing of God's blessing to the various animals he sees. What concerns the narrator is that he is not being renewed like the animals and he is fearful over what he is missing. This is similar to a fear that is provided at the beginning of The Prelude and in Tintern Abbey. As for the understanding of the soul contained within the poem, Wordsworth is more than Platonic in that he holds an Augustinian concept of mercy that leads to the progress of the soul. Wordsworth differs from Augustine in that Wordsworth seeks in the poem to separate himself from the theory of solipsism, the belief that nothing exists outside of the mind. The soul, over time, exists in a world filled with the sublime before moving to the natural world, and the man moves from an egocentric world to a world with nature and then to a world with mankind. This system links nature with a renewal of the self.[52]

Ode: Intimations of Immortality is about childhood, but the poem doesn't completely focus on childhood or what was lost from childhood. Instead, the ode, like The Prelude and Tintern Abbey, places an emphasis on how an adult develops from a child and how being absorbed in nature inspires a deeper connection to humanity.[53] The ode focuses not on Dorothy or on Wordsworth's love, Mary Hutchinson, but on himself and is part of what is called his "egotistical sublime".[54] Of his childhood, Wordsworth told Catherine Clarkson in an 1815 letter that the poem "rests entirely upon two recollections of childhood, one that of a splendour in the objects of sense which is passed away, and the other an indisposition to bend to the law of death as applying to our particular case.... A Reader who has not a vivid recollection of these feelings having existed in his mind in childhood cannot understand the poem."[55] Childhood, therefore, becomes a means to exploring memory, and the imagination, as Wordsworth claims in the letter, is connected to man's understanding of immortality. In a letter to Isabella Fenwick, he explained his particular feelings about immortality that he held when young:[56] "I was often unable to think of external things as having external existence, and I communed with all that I saw as something not apart from, but inherent in, my own immaterial nature."[57] These feelings were influenced by Wordsworth's own experience of loss, including the death of his parents, and may have isolated him from society if the feelings did not ease as he matured.[58]

Like the two other poems, The Prelude and Tintern Abbey, the ode discusses Wordsworth's understanding of his own psychological development, but it is not a scientific study of the subject. He believed that it is difficult to understand the soul and emphasises the psychological basis of his visionary abilities, an idea found in the ode but in the form of a lamentation for the loss of vision. To Wordsworth, vision is found in childhood but is lost later, and there are three types of people that lose their vision. The first are men corrupted through either an apathetic view of the visions or through meanness of mind. The second are the "common" people who lose their vision as a natural part of ageing. The last, the gifted, lose parts of their vision, and all three retain at least a limited ability to experience visions. Wordsworth sets up multiple stages, infancy, childhood, adolescence, and maturity as times of development but there is no real boundary between each stage. To Wordsworth, infancy is when the "poetic spirit", the ability to experience visions, is first developed and is based on the infant learning about the world and bonding to nature. As the child goes through adolescence, he continues to bond with nature and this is slowly replaced by a love for humanity, a concept known as "One Life". This leads to the individual despairing and only being able to resist despair through imagination.[59] When describing the stages of human life, one of the images Wordsworth relies on to describe the negative aspects of development is a theatre stage, the Latin idea of theatrum mundi. The idea allows the narrator to claim that people are weighed down by the roles they play over time. The narrator is also able to claim through the metaphor that people are disconnected from reality and see life as if in a dream.[60]

Wordsworth returns to the ideas found within the complete ode many times in his later works. There is also a strong connection between the ode and Wordsworth's Ode to Duty, completed at the same time in 1804. The poems describe Wordsworth's assessment of his poetry and contains reflections on conversations held between Wordsworth and Coleridge on poetry and philosophy. The basis of the Ode to Duty states that love and happiness are important to life, but there is something else necessary to connect an individual to nature, affirming the narrator's loyalty to a benevolent divine presence in the world. However, Wordsworth was never satisfied with the result of Ode to Duty as he was with Ode: Intimations of Immortality.[61] In terms of use of light as a central image, the ode is related to Peele Castle, but the light in the latter poem is seen as an illusion and stands in opposition to the ode's ideas.[62] In an 1809 essay as part of his Essays upon Epitaphs for Coleridge's journal, The Friend, Wordsworth argued that people have intimations that there is an immortal aspect of their life and that without such feelings that joy could not be felt in the world. The argument and the ideas are similar to many of the statements in the ode along with those in The Prelude, Tintern Abbey, and "We Are Seven". He would also return directly to the ode in his 1817 poem Composed upon an Evening of Extraordinary Splendor and Beauty where he evaluates his own evolving life and poetic works while discussing the loss of an early vision of the world's joys. In the Ode: Intimations of Immortality, Wordsworth concluded that he gives thanks that was able to gain even though he lost his vision of the joy in the world, but in the later work he tones down his emphasis on the gain and provides only a muted thanks for what remains of his ability to see the glory in the world.[63]

Wordsworth's ode is a poem that describes how suffering allows for growth and an understanding of nature,[40] and this belief influenced the poetry of other Romantic poets. Wordsworth followed a Virgilian idea called lachrimae rerum, which means that "life is growth" but it implies that there is also loss within life. To Wordsworth, the loss brought about enough to make up for what was taken. Shelley, in his Prometheus Unbound, describes a reality that would be the best that could be developed but always has the suffering, death, and change. John Keats developed an idea called "the Burden of the Mystery" that emphasizes the importance of suffering in the development of man and necessary for maturation.[64] However, Coleridge's Dejection: An Ode describes the loss of his own poetic ability as he aged and mourned what time took. In Coleridge's theory, his poetic abilities were the basis for happiness and without them there would only be misery.[65] In addition to views on suffering, Shelley relies on Wordsworth's idea of pre-existence in The Triumph of Life,[48] and Keats relies on Wordsworth's interrogative technique in many of his poems, but he discards the egocentric aspects of the questions.[66]

The ode praises children for being the "best Philosopher" ("lover of truth") because they live in truth and have prophetic abilities.[31] This claim bothers Coleridge and he writes, in Biographia Literaria, that Wordsworth was trying to be a prophet in an area that he could have no claim to prophecy.[67] In his analysis of the poem, Coleridge breaks down many aspects of Wordsworth's claims and asks, "In what sense can the magnificent attributes, above quoted, be appropriated to a child, which would not make them equally suitable to a be, or a dog, or a field of corn: or even to a ship, or to the wind and waves that propel it? The omnipresent Spirit works equally in them, as in the child; and the child is equally unconscious of it as they."[68] The knowledge of nature that Wordsworth thinks is wonderful in children, Coleridge feels is absurd in Wordsworth since a poet couldn't know how to make sense of a child's ability to sense the divine any more than the child with a limited understanding could know of the world.[69] I. A. Richards, in his work Coleridge on Imagination (1934), responds to Coleridge's claims by asking, "Why should Wordsworth deny that, in a much less degree, these attributes are equally suitable to a bee, or a dog, or a field of corn?"[70]

Later, Cleanth Brooks reanalyzes the argument to point out that Wordsworth would include the animals among the children. He also explains that the child is the "best philosopher" because of his understanding of the "eternal deep", which comes from enjoying the world through play: "They are playing with their little spades and sand-buckets along the beach on which the waves break."[71] In 1992, Susan Eilenberg returned to the dispute and defended Coleridge's analysis by explaining that "It exhibits the workings of the ambivalence Coleridge feels toward the character of Wordsworth's poetry; only now, confronting greater poetry, his uneasiness is greater... If Wordsworth's weakness is incongruity, his strength is propriety. That Coleridge should tell us this at such length tells as much about Coleridge as about Wordsworth: reading the second volume of the Biographia, we learn not only Wordsworth's strong and weak points but also the qualities that most interest Coleridge."[72]

The Ode: Intimations of Immortality is the most celebrated poem published in Wordsworth's Poems in Two Volumes collection. While modern critics believe that the poems published in Wordsworth's 1807 collection represented a productive and good period of his career, contemporary reviewers were split on the matter and many negative reviews cast doubts on his circle of poets known as the Lake Poets. Negative reviews were found in the Critical Review, Le Beau Monde and Literary Annual Register.[73] George Gordon Byron, a fellow Romantic poet but not an associate of Wordsworth's, responded to Poems in Two Volumes, in a 3 July 1807 Monthly Literary Recreations review, with a claim that the collection lacked the quality found in Lyrical Ballads.[74] When referring to Ode: Intimations of Immortality, he dismissed the poem as Wordsworth's "innocent odes" without providing any in-depth response, stating only: "On the whole, however, with the exception of the above, and other innocent odes of the same cast, we think these volumes display a genius worthy of higher pursuits, and regret that Mr. W. confines his muse to such trifling subjects... Many, with inferior abilities, have acquired a loftier seat on Parnassus, merely by attempting strains in which Mr. W. is more qualified to excel."[75] The poem was received negatively but for a different reason from Wordsworth's and Coleridge's friend Robert Southey, also a Romantic poet. Southey, in an 8 December 1807 letter to Walter Scott, wrote, "There are certainly some pieces there which are good for nothing... and very many which it was highly injudicious to publish.... The Ode upon Pre-existence is a dark subject darkly handled. Coleridge is the only man who could make such a subject luminous."[76]

Francis Jeffrey, a Whig lawyer and editor of the Edinburgh Review, originally favoured Wordsworth's poetry following the publication of Lyrical Ballads in 1798 but turned against the poet from 1802 onward. In response to Wordsworth's 1807 collection of poetry, Jeffrey contributed an anonymous review to the October 1807 Edinburgh Review that condemned Wordsworth's poetry again.[77] In particular, he declared the ode "beyond all doubt, the most illegible and unintelligible part of the publication. We can pretend to give no analysis or explanation of it;-- our readers must make what they can of the following extracts."[78] After quoting the passage, he argues that he has provided enough information for people to judge if Wordsworth's new school of poetry should be replace the previous system of poetry: "If we were to stop here, we do not think that Mr Wordsworth, or his admirers, would have any reason to complain; for what we have now quoted is undeniably the most peculiar and characteristic part of his publication, and must be defended and applauded if the merit or originality of his system is to be seriously maintained.[78] In putting forth his own opinion, Jeffrey explains, "In our own opinion, however, the demerit of that system cannot be fairly appretiated, until it be shown, that the author of the bad verses which we have already extracted, can write good verses when he pleases".[78] Jeffrey later wrote a semi-positive review of the ode, for the 12 April 1808 Edinburgh Review, that praised Wordsworth when he was least Romantic in his poetry. He believed that Wordsworth's greatest weakness was portraying the low aspects of life in a lofty tone.[74]

Another semi-negative response to the poem followed on 4 January 1808 in the Eclectic Review. The writer, James Montgomery, attacked the 1807 collection of poems for depicting low subjects. When it came to the ode, Montgomery attacked the poem for depicting pre-existence.[74] After quoting the poem with extracts from the whole collection, he claimed, "We need insist no more on the necessity of using, in poetry, a language different from and superior to 'the real language of men,' since Mr. Wordsworth himself is so frequently compelled to employ it, for the expression of thoughts which without it would be incommunicable. These volumes are distinguished by the same blemishes and beauties as were found in their predecessors, but in an inverse proportion: the defects of the poet, in this performance, being as much greater than his merits, as they were less in his former publication."[79] In his conclusion, Montgomery returned to the ode and claimed, that "the reader is turned loose into a wilderness of sublimity, tenderness, bombast, and absurdity, to find out the subject as well as he can... After our preliminary remarks on Mr. Wordsworth's theory of poetical language, and the quotations which we have given from these and his earlier compositions, it will be unnecessary to offer any further estimate or character of his genius. We shall only add one remark.... Of the pieces now published he has said nothing: most of them seem to have been written for no purpose at all, and certainly to no good one."[80] In January 1815, Montgomery returned to Wordsworth's poetry in another review and argues, "Mr. Wordsworth often speaks in ecstatic strains of the pleasure of infancy. If we rightly understand him, he conjectures that the soul comes immediately from a world of pure felicity, when it is born into this troublous scene of care and vicissitude... This brilliant allegory, (for such we must regard it,) is employed to illustrate the mournful truth, that looking back from middle age to the earliest period of remembrance we find, 'That there hath pass'd away a glory from the earth,'... Such is Life".[81]

John Taylor Coleridge, nephew to Samuel Taylor Coleridge, submitted an anonymous review for the April 1814 Quarterly Review. Though it was a review of his uncle's Remorse, he connects the intention and imagery found within Coleridge's poem to that in Ode: Intimation of Immortality and John Wilson's "To a Sleeping Child" when saying, "To an extension or rather a modification of this last mentioned principle [obedience to some internal feeling] may perhaps be attributed the beautiful tenet so strongly inculcated by them of the celestial purity of infancy. 'Heaven lies about us in our infancy,' says Mr. Wordsworth, in a passage which strikingly exemplifies the power of imaginative poetry".[82] John Taylor Coleridge returned to Wordsworth's poetry and the ode in a May 1815 review for the British Critic. In the review, he partially condemns Wordsworth's emphasis in the ode on children being connected to the divine: "His occasional lapses into childish and trivial allusion may be accounted for, from the same tendency. He is obscure, when he leaves out links in the chain of association, which the reader cannot easily supply... In his descriptions of children this is particularly the case, because of his firm belief in a doctrine, more poetical perhaps, than either philosophical or christian, that 'Heaven lies about us in our infancy.'"[83]

John Taylor Coleridge continues by explaining the negative aspects of such a concept: "Though the tenderness and beauty resulting from this opinion be to us a rich overpayment for the occasional strainings and refinements of sentiment to which it has given birth, it has yet often served to make the author ridiculous in common eyes, in that it has led him to state his own fairy dreams as the true interpretation and import of the looks and movements of children, as being even really in their minds."[83] In a February 1821 review for the British Critic, John Taylor Coleridge attacked the poem again for a heretical view found in the notion of pre-existence and how it reappeared in Wordsworth's poem "On an Extraordinary Evening of Splendour and Beauty".[84] However, he does claim that the passage of the ode containing the idea is "a passage of exquisite poetry" and that "A more poetical theory of human nature cannot well be devised, and if the subject were one, upon which error was safe, we should forbear to examine it closely, and yield to the delight we have often received from it in the ode from which the last extract [Ode: Intimations of Immortality] is made."[85] He was to continue: "If, therefore, we had met the doctrine in any poet but Mr. Wordsworth, we should have said nothing; but we believe him to be one not willing to promulgate error, even in poetry, indeed it is manifest that he makes his poetry subservient to his philosophy; and this particular notion is so mixed up by him with others, in which it is impossible to suppose him otherwise than serious; that we are constrained to take it for his real and sober belief."[85]

In the same year came responses to the ode by two Romantic writers. Leigh Hunt, a second-generation Romantic poet, added notes to his poem Feast of the Poets that respond to the ideas suggested in Wordsworth's poetry. These ideas include Wordsworth's promotion of a simple mental state without cravings for knowledge, and it is such an ideas that Hunt wanted to mock in his poem. However, Hunt did not disagree completely with Wordsworth's sentiments. After quoting the final lines of the Ode: Intimations of Immortality, those that "Wordsworth has beautifully told us, that to him '--the meanest flow'r that blows can give/ Thoughts that do often lie too deep for tears", Hunt claims, "I have no doubt of it; and far be it from me to cast stones into the well in which they lie,-- to disturb those reposing waters,-- that freshness at the bottom of warm hearts,-- those thoughts, which if they are too deep for tears, are also, in their best mood, too tranquil even for smiles. Far be it also from me to hinder the communication of such thoughts to mankind, when they are not sunk beyond their proper depth, so as to make one dizzy in looking down to them."[86] Following Hunt, William Hazlitt, a critic and Romantic writer, wrote a series of essays called "Character of Mr. Wordsworth's New Poems" in three parts, starting in the 21 August 1814 Examiner. Although Hazlitt treated Wordsworth's poetry fairly, he was critical of Wordsworth himself and he removed any positive statements about Wordsworth's person from a reprint of the essays.[87] The 2 October 1814 essay examined poetry as either of imagination or of sentiment, and quotes the final lines of the poem as an example of "The extreme simplicity which some persons have objected to in Mr. Wordsworth's poetry is to be found only in the subject and style: the sentiments are subtle and profound. In the latter respect, his poetry is as much above the common standard or capacity, as in the other it is below it... We go along with him, while he is the subject of his own narrative, but we take leave of him when he makes pedlars and ploughmen his heroes and the interpreters of his sentiments."[88]

In 1817 came two more responses by Romantic poets to the ode. Coleridge was impressed by the ode's themes, rhythm, and structure since he first heard the beginning stanzas in 1802.[89] In an analysis of Wordsworth's poetry for his work Biographia Literaria (1817), Coleridge described what he considered as both the positives and the defects of the ode. In his argument, he both defended his technique and explained: "Though the instances of this defect in Mr. Wordsworth's poems are so few, that for themselves it would have been scarce just to attract the reader's attention toward them; yet I have dwelt on it, and perhaps the more for this very reason. For being so very few, they cannot sensibly detract from the reputation of an author, who is even characterized by the number of profound truths in his writings, which will stand the severest analysis; and yet few as they are, they are exactly those passages which his blind admirers would be most likely, and best able, to imitate."[90] Of the positives that Coleridge identified within the poem, he placed emphasis on Wordsworth's choice of grammar and language that established a verbal purity in which the words chosen could not be substituted without destroying the beauty of the poem. Another aspect Coleridge favoured was the poem's originality of thought and how it contained Wordsworth's understanding of nature and his own experience. Coleridge also praised the lack of a rigorous structure within the poem and claimed that Wordsworth was able to truly capture the imagination. However, part of Coleridge's analysis of the poem and of the poet tend to describe his idealised version of positives and negative than an actual concrete object.[91] In the same year, it was claimed by Benjamin Bailey, in a 7 May 1849 letter to R. M. Milnes, that John Keats, one of the second-generation Romantic poets, discussed the poem with him. In his recollection, Bailey said, "The following passage from Wordsworth's ode on Immortality [lines 140148] was deeply felt by Keats, who however at this time seemed to me to value this great Poet rather in particular passages than in the full length portrait, as it were, of the great imaginative & philosophic Christian Poet, which he really is, & which Keats obviously, not long afterwards, felt him to be."[92]

Following Coleridge's response was an anonymous review in the May 1820 Blackwood's Edinburgh Magazine, possible by either John Lockhart and John Wilson together or just Lockhart on his own. Of Wordsworth's abilities as a poet in general, the review claimed: "Mr Wordsworth ... is entitled to be classed with the very highest names among his predecessors, as a pure and reverent worshipper of the true majest of the English Muse" and that "Of the genius of Mr Wordsworth, in short, it is now in the hands of every man to judge freely and fully, and for himself. Our own opinion, ever since this Journal commenced, has been clearly and entirely before them; and if there be any one person, on whose mind what we have quoted now, is not enough to make an impression similar to that which our own judgment had long before received we have nothing more to say to that person in regard to the subject of poetry."[93] In discussing the ode in particular, the review characterised the poem as "one of the grandest of his early pieces".[94] In December 1820 came an article in the New Monthly Magazine titled "On the Genius and Writings of Wordsworth" written by Thomas Noon Talfourd. When discussing the poem, Talfourd declared that the ode "is, to our feelings, the noblest piece of lyric poetry in the world. It was the first poem of its author which we read, and never shall we forget the sensations which it excited within us. We had heard the cold sneers attached to his name... and here in the works of this derided poet we found a new vein of imaginative sentiment open to us sacred recollections brought back to our hearts with all the freshness of novelty, and all the venerableness of far-off time".[95] When analysing the relationship between infants and the divine within the poem, the article continued: "What a gift did we then inherit! To have the best and most imperishable of intellectual treasures the mighty world of reminiscences of the days of infancy set before us in a new and holier light".[96]

William Blake, a Romantic poet and artist, thought that Wordsworth was at the same level as the poets Dante, Shakespeare, and Milton. In a diary entry for 27 December 1825, H. C. Robinson recounted a conversation between himself and William Blake shortly before Blake's death: "I read to him Wordsworth's incomparable ode, which he heartily enjoyed. But he repeated, 'I fear Wordsworth loves nature, and nature is the work of the Devil. The Devil is in us as 'far as we are nature.'... The parts of Wordsworth's ode which Blake most enjoyed were the most obscureat all events, those which I least like and comprehend."[97] Following Blake, Chauncy Hare Townshend produced "An Essay on the Theory and the Writings of Wordsworth"for Blackwood's Edinburgh Magazine in 1829. In the third part, he critiqued Wordsworth's use of pre-existence within the poem and asked "unless our author means to say that, having existed from all eternity, we are of an eternal and indestructible essence; or, in other words, that being incarnate portion of the Deity... we are as Immortal as himself. But if the poet intends to affirm this, do you not perceive that he frustrates his own aim?"[98] He continued by explaining why he felt that Wordsworth's concept fell short of any useful purpose: "For if we are of God's indivisible essence, and receive our separate consciousness from the wall of flesh which, at our birth, was raised between us and the Found of Being, we must, on the dissolution of the body... be again merged in the simple and uncompounded Godhead, lose our individual consciousness... in another sense, become as though we had never been."[98] He concluded his analysis with a critique of the poem as a whole: "I should say that Wordsworth does not display in it any great clearness of thought, or felicity of language... the ode in question is not so much abstruse in idea as crabbed in expression. There appears to be a laborious toiling after originality, ending in a dismal want of harmony."[98]

The ode, like others of Wordsworth's poetry, was favoured by Victorians for its biographical aspects and the way Wordsworth approached feelings of despondency. The American Romantic poet Ralph Waldo Emerson, in his 1856 work English Traits, claimed that the poem "There are torpid places in his mind, there is something hard and sterile in his poetry, want of grace and variety, want of due catholicity and cosmopolitan scope: he had conformities to English politics and tradition; he had egotistic puerilities in the choice and treatment of his subjects; but let us say of him, that, alone in his time he treated the human mind well, and with an absolute trust. His adherence to his poetic creed rested on real inspirations."[99] The editor of Harper's New Monthly Magazine, George William Curtis, praised the ode in his December 1859 column "Editor's Easy Chair" and claimed that "it was Wordsworth who has written one of the greatest English poets... For sustained splendor of imagination, deep, solemn, and progressive thought, and exquisite variety of music, that poem is unsurpassed. Since Milton's 'Ode upon the Nativity' there is nothing so fine, not forgetting Dryden, Pope, Collins, and the rest, who have written odes."[100]

The philosopher John Stuart Mill liked Wordsworth's ode and found it influential to the formation of his own thoughts. In his Autobiography (1873), he credited Wordsworth's poetry as being able to relieve his mind and overcome a sense of apathy towards life. Of the poems, he particularly emphasised both Wordsworth's 1815 collection of poetry and the Ode: Intimations of Immortality as providing the most help to him, and he specifically said of the ode: "I found that he too had had similar experience to mine; that he also had felt that the first freshness of youthful enjoyment of life was not lasting; but that he had sought for compensation, and found it, in the way in which he was now teaching me to find it. The result was that I gradually, but completely, emerged from my habitual depression, and was never again subject to it."[101] David Mason followed Mill in an 1875 essay on literature, including Wordsworth's poetry. After quoting from the ode, Mason claimed of the poem: "These, and hundreds of other passages that might be quoted, show that Wordsworth possessed, in a very high degree indeed, the true primary quality of the poetimagination; a surcharge of personality or vital spirit, perpetually overflowing among the objects of the otherwise conditioned universe, and refashioning them according to its pleasure."[102]

After Mill, critics focused on the ode's status among Wordsworth's other poems. In July 1877, Edward Dowden, in an article for the Contemporary Review, discussed the Transcendental Movement and the nature of the Romantic poets. when referring to Wordsworth and the ode, he claimed: "Wordsworth in his later years lost, as he expresses it, courage, the spring-like hope and confidence which enables a man to advance joyously towards new discovery of truth. But the poet of 'Tintern Abbey' and the 'Ode on Intimations of Immortality' and the 'Prelude' is Wordsworth in his period of highest energy and imaginative light".[103] Matthew Arnold, in his preface to an 1879 edition of Wordsworth's poetry, explains that he was a great lover of the poems. However, he explains why he believed that the ode was not one of the best: "I have a warm admiration for Laodameia and for the great Ode; but if I am to tell the very truth, I find Laodameia not wholly free from something artificial, and the great Ode not wholly free from something declamatory."[104] His concern was over what he saw as the ideas expressed on childhood and maturity: "Even the 'intimations' of the famous Ode, those corner-stones of the supposed philosophic system of Wordsworth... has itself not the character of poetic truth of the best kind; it has no real solidity" "to say that universally this instinct is mighty in childhood, and tends to die away afterwards, is to say what is extremely doubtful... In general, we may say of these high instincts of early childhood... what Thucydides says of the early achievements of the Greek race:--'It is impossible to speak with certainty of what is so remove; but from all that we can really investigate, I should say that they were no very great things.'"[105]

The Victorian critic John Ruskin, towards the end of the 19th century, provided short analyses of various writers in his "Nature and Literature" essays collected in "Art and Life: a Ruskin Anthology". In speaking of Wordsworth, Ruskin claimed, "Wordsworth is simply a Westmoreland peasant, with considerably less shrewdness than most border Englishmen or Scotsmen inherit; and no sense of humor; but gifted... with vivid sense of natural beauty, and a pretty turn for reflection, not always acute, but, as far as they reach, medicinal to the fever of the restless and corrupted life around him."[106] After mocking the self-reflective nature of Wordsworth's poetry, he then declared that the poetry was "Tuneful nevertheless at heart, and of the heavenly choir, I gladly and frankly acknowledge him; and our English literature enriched with a new and singular virtue in the aerial purity and healthful rightness of his quiet song;but aerial onlynot ethereal; and lowly in its privacy of light". The ode, to Ruskin, becomes a means to deride Wordsworth's intellect and faith when he claims that Wordsworth was "content with intimations of immortality such as may be in skipping of lambs, and laughter of children-incurious to see in the hands the print of the nails."[106] Ruskin's claims were responded to by an article by Richard Hutton in the 7 August 1880 Spectator.[107] The article, "Mr. Ruskin on Wordsworth", stated, "We should hardly have expected Mr. Ruskina great master of irony though he beto lay his finger so unerringly as he does on the weak point of Wordsworth's sublime ode on the 'Intimations of Immortality,' when he speaks of himquite falsely, by the wayas 'content with intimations of immortality'".[108] The article continued with praise of Wordsworth and condemns Ruskin further: "But then, though he shows how little he understands the ode, in speaking of Wordsworth as content with such intimations, he undoubtedly does touch the weak chord in what, but for that weak chord, would be one of the greatest of all monuments of human genius... But any one to whom Wordsworth's great ode is the very core of that body of poetry which makes up the best part of his imaginative life, will be as much astonished to find Mr. Ruskin speaking of it so blindly and unmeaningly as he does".[108]

The ode was viewed positively by the end of the century. George Saintsbury, in his A Short History of English Literature (1898), declared the importance and greatness of the ode: "Perhaps twice only, in Tintern Abbey and in the Ode on the Intimations of Immortality, is the full, the perfect Wordsworth, with his half-pantheistic worship of nature, informed and chastened by an intense sense of human conduct, of reverence and almost of humbleness, displayed in the utmost poetic felicity. And these two are accordingly among the great poems of the world. No unfavorable criticism on either and there has been some, new and old, from persons in whom it is surprising, as well as from persons in whom it is natural has hurt them, though it may have hurt the critics. They are, if not in every smallest detail, yet as wholes, invulnerable and imperishable. They could not be better done."[109]

At the beginning of the 20th century, response to the ode by critics was mostly positive. Andrew Bradley declared in 1909 that "The Immortality Ode, like King Lear, is its author's greatest product, but not his best piece of work."[110] When speaking of Grasmere and Wordsworth, Elias Sneath wrote in 1912: "It witnessed the composition of a large number of poems, many of which may be regarded among the finest products of his imagination. Most of them have already been considered. However, one remains which, in the judgment of some critics, more than any other poem of the numerous creations of his genius, entitles him to a seat among the Immortals. This is the celebrated [ode]... It is, in some respects, one of his most important works, whether viewed from the stand point of mere art, or from that of poetic insight."[111] George Harper, following Sneath in 1916, described the poem in positive terms and said, "Its radiance comes and goes through a shimmering veil. Yet, when we look close, we find nothing unreal or unfinished. This beauty, though supernal, is not evanescent. It bides our return, and whoever comes to seek it as a little child will find it. The imagery, though changing at every turn, is fresh and simple. The language, though connected with thoughts so serious that they impart to it a classic dignity, is natural and for the most part plain.... Nevertheless, a peculiar glamour surrounds the poem. It is the supreme example of what I may venture to term the romance of philosophic thought."[112]

The 1930s contained criticism that praised the poem, but most critics found fault with particular aspects of the poem. F. R. Leavis, in his Revaluation (1936), argued that "Criticism of Stanza VIII ... has been permissible, even correct, since Coleridge's time. But the empty grandiosity apparent there is merely the local manifestation of a general strain, a general factitiousness. The Ode... belongs to the transition at its critical phase, and contains decided elements of the living."[113] He continued, "But these do not lessen the dissatisfaction that one feels with the movementthe movement that makes the piece an ode in the Grand Style; for, as one reads, it is in terms of the movement that the strain, the falsity, first asserts itself. The manipulations by which the change of mood are indicated have, by the end of the third stanza, produced an effect that, in protest, one described as rhythmic vulgarity..., and the strain revealed in technique has an obvious significance".[113] In 1939, Basil Willey argued that the poem was "greatly superior, as poetry, to its psychological counterpart in The Prelude" but also said that "the semi-Platonic machinery of pre-existence... seems intrusive, and foreign to Wordsworth" before concluding that the poem was the "final and definitive expression to the most poignant experience of his poetic life".[114]

Cleanth Brooks used the Ode: Intimation of Immortality as one of his key works to analyse in his 1947 work The Well Wrought Urn. His analysis broke down the ode as a poem disconnected from its biographical implications and focused on the paradoxes and ironies contained within the language. In introducing his analysis, he claimed that it "may be surmised from what has already been remarked, the 'Ode' for all its fine passages, is not entirely successful as a poem. Yet, we shall be able to make our best defense of it in proportion as we recognize and value its use of ambiguous symbol and paradoxical statement. Indeed, it might be maintained that, failing to do this, we shall miss much of its power as poetry and even some of its accuracy of statement."[115] After breaking down the use of paradox and irony in language, he analyses the statements about the childhood perception of glory in Stanza VI and argued, "This stanza, though not one of the celebrated stanzas of the poem, is one of the most finely ironical. Its structural significance too is of first importance, and has perhaps in the past been given too little weight."[116] After analysing more of the poem, Brooks points out that the lines in Stanza IX contains lines that "are great poetry. They are great poetry because ... the children are not terrified... The children exemplify the attitude toward eternity which the other philosopher, the mature philosopher, wins to with difficulty, if he wins to it at all."[117] In his conclusion about the poem, he argues, "The greatness of the 'Ode' lies in the fact that Wordsworth is about the poet's business here, and is not trying to inculcate anything. Instead, he is trying to dramatize the changing interrelations which determine the major imagery."[118] Following Brooks in 1949, C. M. Bowra stated, "There is no need to dispute the honour in which by common consent it [the ode] is held" but he adds "There are passages in the 'Immortal Ode' which have less than his usual command of rhythm and ability to make a line stand by itself... But these are unimportant. The whole has a capacious sweep, and the form suits the majestic subject... There are moments when we suspect Wordsworth of trying to say more than he means.[119] Similarly, George Mallarby also revealed some flaws in the poem in his 1950 analysis: "In spite of the doubtful philosophical truth of the doctrine of pre-existence borrowed from Platon, in spite of the curiously placed emphasis and an exuberance of feeling somewhat artificially introduced, in spite of the frustrating and unsatisfying conclusion, this poem will remain, so long as the English language remains, one of its chief and unquestionable glories. It lends itself, more than most English odes, to recitation in the grand manner."[120]

By the 1960s and 1970s, the reception of the poem was mixed but remained overall positive. Mary Moorman analysed the poem in 1965 with an emphasis on its biographical origins and Wordsworth's philosophy on the relationship between mankind and nature. When describing the beauty of the poem, she stated, "Wordsworth once spoke of the Ode as 'this famous, ambitious and occasionally magnificent poem'. Yet it is not so much its magnificence that impresses, as the sense of resplendent yet peaceful light in which it is bathedwhether it is the 'celestial light' and 'glory' of the first stanza, or the 'innocent Brightness of a new-born Day' of the last."[121] In 1967, Yvor Winters criticised the poem and claimed that "Wordsworth gives us bad oratory about his own clumsy emotions and a landscape that he has never fully realized."[122] Geoffrey Durrant, in his 1970 analysis of the critical reception of the ode, claimed, "it may be remarked that both the admirers of the Ode, and those who think less well of it, tend to agree that it is unrepresentative, and that its enthusiastic, Dionysian, and mystical vein sets it apart, either on a lonely summit or in a special limbo, from the rest of Wordsworth's work. And the praise that it has received is at times curiously equivocal."[123] In 1975, Richard Brantley, labelling the poem as the "great Ode", claimed that "Wordsworth's task of tracing spiritual maturity, his account of a grace quite as amazing and perhaps even as Christian as the experience recorded in the spiritual autobiography of his day, is therefore essentially completed".[1] He continued by using the ode as evidence that the "poetic record of his remaining life gives little evidence of temptations or errors as unsettling as the ones he faced and made in France."[1] Summarizing the way critics have approached the poem, John Beer claimed in 1978 that the poem "is commonly regarded as the greatest of his shorter works".[3] Additionally, Beer argued that the ode was the basis for the concepts found in Wordsworth's later poetry.[124]

Criticism of the ode during the 1980s ranged in emphasis on which aspects of the poem were most important, but critics were mostly positive regardless of their approach. In 1980, Hunter Davies analysed the period of time when Wordsworth worked on the ode and included it as one of the "scores of poems of unarguable genius",[125] and later declared the poem Wordsworth's "greatest ode".[2] Stephen Gill, in a study of the style of the 1802 poems, argued in 1989 that the poems were new and broad in range with the ode containing "impassioned sublimity".[126] He later compared the ode with Wordsworth's "Ode to Duty" to declare that "The Ode: Intimations, by contrast, rich in phrases that have entered the language and provided titles for other people's books, is Wordsworth's greatest achievement in rhythm and cadence. Together with Tintern Abbey it has always commanded attention as Wordsworth's strongest meditative poem and Wordsworth indicated his assessment of it by ensuring through the layout and printing of his volumes that the Ode stood apart."[127] In 1986, Marjorie Levinson searched for a political basis in many of Wordsworth's poems and argued that the ode, along with "Michael", Peele Castle, and Tintern Abbey, are "incontestably among the poet's greatest works".[128] Susan Wolfson, in the same year, claimed that "the force of the last lines arises from the way the language in which the poet expresses a resolution of grief at the same time renders a metaphor that implies that grief has not been resolved so much as repressed and buried. And this ambiguity involves another, for Wordsworth makes it impossible to decide whether the tension between resolution and repression... is his indirect confession of a failure to achieve transcendence or a knowing evasion of an imperative to do so."[129] After performing a Freudian-based analysis of the ode, William Galperin, in 1989, argues that "Criticism, in short, cannot accept responsibility for The Excursion's failings any more than it is likely to attribute the success of the 'Intimations Ode' to the satisfaction it offers in seeing a sense of entitlement, or self-worth, defended rather than challenged."[130]

1990s critics emphasised individual images within the poem along with Wordsworth's message being the source of the poem's power. In 1991, John Hayden updated Russell Noyes's 1971 biography of Wordsworth and began his analysis of the ode by claiming: "Wordsworth's great 'Ode on Immortality' is not easy to follow nor wholly clear. A basic difficulty of interpretation centers upon what the poet means by 'immortality.'"[131] However, he goes on to declare, "the majority of competent judges acclaim the 'Ode on Immortality' as Wordsworth's most splendid poem. In no other poem are poetic conditions so perfectly fulfilled. There is the right subject, the right imagery to express it, and the right meter and language for both."[132] Thomas McFarland, when emphasising the use of a river as a standard theme in Wordsworth's poems, stated in 1992: "Not only do Wordsworth's greatest statements--'Tintern Abbey', 'The Immortality Ode', 'The Ruined Cottage', 'Michael', the first two books of The Prelude--all overlie a streaming infrashape, but Wordsworth, like the other Romantics, seemed virtually hypnotized by the idea of running water."[133] After analysing the Wordsworth's incorporation of childhood memories into the ode, G. Kim Blank, in 1995, argued, "It is the recognition and finally the acceptance of his difficult feelings that stand behind and in the greatness and power of the Ode, both as a personal utterance and a universal statement. It is no accident that Wordsworth is here most eloquent. Becoming a whole person is the most powerful statement any of us can ever made. Wordsworth in the Ode here makes it for us."[134] In 1997, John Mahoney praised the various aspects of the poem while breaking down its rhythm and style. In particular, he emphasised the poem's full title as "of great importance for all who study the poem carefully" and claimed, "The final stanza is a powerful and peculiarly Wordsworthian valediction."[135]

In the 21st century, the poem was viewed as Wordsworth's best work. Adam Sisman, in 2007, claimed the poem as "one of [Wordsworth's] greatest works".[136] Following in 2008, Paul Fry argued, "Most readers agree that the Platonism of the Intimations Ode is foreign to Wordsworth, and express uneasiness that his most famous poem, the one he always accorded its special place in arranging his successive editions, is also so idiosyncratic."[137] He continued, "As Simplon and Snowdon also suggest, it was a matter of achieving heights (not the depth of 'Tintern Abbey'), and for that reason the metaphor comes easily when one speaks of the Intimations Ode as a high point in Wordsworth's career, to be highlighted in any new addition as a pinnacle of accomplishment, a poem of the transcendental imagination par excellence."[138]

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The struggle for eternal life as depicted on the Mao Kun Map.

Immortality or eternal life was the state living indefinitely for an infinite or indeterminate amount of time. It was an ability to live forever, or put another way, an immunity from death. In religious contexts, eternal life was often stated to be among the promises by God (or other deities) to human beings who show goodness or else follow divine law (cf. resurrection). Moreover, only God was regarded as truly immortal, hence it is only through God's resources for resurrection and salvation that human beings may transcend death and live eternally.

During the time of Ancient Greece, the boy Melikertes had to escape the wrath of Hera, the queen of the gods. He and his mother jumped off a clif into the sea for protection, becoming powerful as gods. Through his newfound powers, Malikertes learned how to drain people of their souls so he could keep himself young for all eternity. Over the next centuries, he became known as Palaimon.[1] When he he began to study alchemy, the infamous Pirate Lord Henry Morgan devised a way to live forever.[2] The treasure of Corts rendered those who stole from it as immortal skeletons until all the Aztec gold coins were returned and a blood debt repaid.[3] Under Davy Jones, the crew of the Flying Dutchman lived as immortal beings.[4][5] The Fountain of Youth was a legendary spring that restored the youth or grant immortality to anyone who drank from its waters, thereby live forver[5], though at a cost of another's death.[6] For the Fountain, the struggle for eternal youth was depicted on the Mao Kun Map, symbolized by a tug of war between a skeleton and an angel, aligned with the symbol of the Fountainthe Chalices.[7]

In another sense, immortality can also mean being unable to be forgotten by history. For example, Jack claimed that by finding the Fountain of Youth when the legendary explorer, Juan Ponce de Len, failed to do so, he will be remebered throughout time and thus, in a way, never die.

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Immortality (novel) – Wikipedia

Immortality (Czech: Nesmrtelnost) is a novel in seven parts, written by Milan Kundera in 1988 in Czech. First published 1990 in French. English edition 345 p., translation by Peter Kussi.[1] This novel springs from a casual gesture of a woman, seemingly to her swimming instructor. Immortality is the last of a trilogy that includes The Book Of Laughter And Forgetting, and The Unbearable Lightness Of Being.

Divided into seven parts, Immortality centers on Agnes, her husband Paul and her sister Laura. Part One: the Face establishes these characters. Part Two: Immortality depicts Goethe's fraught relationship with Bettina, a young woman who aspires to create a place for herself in the pantheon of history by controlling Goethe's legacy after his death. Part Three: Agnes and Laura fight, while focusing on the deteriorating state of Laura's relationship with Bernard Bertrand. Part Four: Homo Sentimentalis chronicles Goethe's afterlife and postmortem friendship with Ernest Hemingway. Part Five: Chance sees Agnes' death, and intersects these fictional events with Kundera's seemingly autobiographical account of a conversation with Professor Avenarius. Part Six: the Dial introduces a new character, Rubens, who had an affair with Agnes years prior to the onset of the main events in the plot. Part Seven: the Celebration concludes the novel in the same health club where Kundera first observed the inspirational wave gesture.

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Immortality: God’s Gift To The Saints The Church of God …

No question about it, the Bible clearly reveals that immortality is God's gracious gift to His saints. But if immortality is a gift that is given only to the saints, why do millions believe that it is an inherent quality of the human soul? What does the Bible say about this subject?

There is no single doctrine which commands such universal acceptance among religious adherents over so vast a span of time. Indeed, this doctrine has been almost synonymous with religion itself. Not one major religion disputes it and every religious tradition affirms it in one form or another.

In the ancient Near East, it dominated religious thought. In African and Asian tribal religions it is prominent and religions of all civilizations have endorsed it. It is an important relic of Platonic thought. In the world of professing Christianity, only a few sects question it. Seventy-one percent of Americans believe it.

It is the doctrine of the immortality of the soul, the view that the human soul has a conscious existence immediately after death.

Yet the Bible, reputedly the authoritative document of the Christian faith, nowhere teaches this doctrine. It is nothing less than astounding that the Old Testament, a document of the ancient Near East, roundly rejects the teaching that the soul consciously survives death when that teaching was commonplace then, and that the New Testament equally rejects this doctrine, believed by the vast majority in the first century.

Amazingly, the Bible as a religious document is almost unique in its utter refutation of the view that the real person is the soul inside, which goes into another world upon the death of the body. This is no minor issue to be mistaken about. Granted there are some doctrines which are inconsequential, and no church has all truth and no error. We all know in part and prophecy (preach) in part. But the true church, the church divinely commissioned to take the gospel to the world, must know the fundamental doctrine of what man really is.

Could God have started a church and continue to actively lead that church when it does not even know what man is and what happens to him after death? Is this a minor doctrine?

The implications for any church which is wrong on this issue are profound. Immortality of the soul defender John W. Cooper, in his book Body, Soul and Life Everlasting, says that if the doctrine is not true then "a doctrine affirmed by most of the church since its beginning is false. A second consequence is more personal and existentialwhat millions of Christians believe will happen when they die is an illusion." Would God have led so many believers into error, or would He not rescue them from that error, if He were, in fact, the Founder of those churches which believe in the immortality of the soul?

We need to dispassionately and without bias examine this critical subject.

One respected theologian came to what was a startling conclusion for him: that his church had misled him on this critical issue. Church of Christ elder Edward Fudge explains in the book which he finally wrote to show the results of his study, The Fire That Consumes: The Biblical Case for Conditional Immortality: "I was reared on traditionalist teaching. I accepted it because it was said to rest on Scripture. Closer investigation has shown this claim to be mistaken. Careful study has shown that both Old and New Testaments teach instead a resurrection of the wicked for the purpose of divine judgment....so my beliefs have changed-as a result of careful study."

So have the views of an even more well-known and renowned theologian and evangelical apologist, Clark Pinnock. In his chapter on "The Conditional View" in the well-researched book, Four Views on Hell, Pinnock, after showing a number of scriptures disproving the immortality of the soul, wonders aloud why so many churches should have adopted what would appear an obviously unbiblical view. An explanation for this, he offers, "exists in a Hellenistic belief about human nature that has dominated Christian thinking about eschatology from the beginning. There has been a virtual consensus that the soul survives death because it is by nature an incorporeal substance. This assumption goes back to Plato's view of the soul as metaphysically indestructible, a view shared by Augustine, Aquinas, and Calvin. The Greek doctrine of the immortality of the soul has affected theology unduly on this point-a good example of the occasional Hellenization of Christian doctrine."

It is time we get back to the Bible, especially in light of the fact that the Protestant Reformation was ostensibly based on sola ScripturaScripture alone! If this claim is true, then why should nonbiblical sources be more influential than Scripture in the formation of Christian doctrine? Yet defenders of the immortal soul doctrine will protest that Scripture itself is clear that the soul is immortal. There are some scriptures which do, indeed, seem to clearly teach an eternal conscious existence in hell. We can't ignore these scriptures, if we accept all biblical texts as the Word of Godbut we must seek to understand them without reading foreign ideas into them.

Revelation 14:10 refers to people who "will be tormented with fire and brimstone." Verse 11 says that the "smoke of their torment goes up for even and ever; and they have no rest, day or night, these worshipers of the beast and its image." Now if they don't have immortal souls, how will that be possible? Will God give them immortal souls to facilitate their everlasting punishment? In any event, those who believe in conditional immortality, like the Church of God International, reject the notion of everlasting conscious punishment. So what do we do with a text like Revelation 14:10,11, which was not smuggled into the Scriptures by Plato? These verses seem devastating to our view.

In Matthew 25:41, Jesus refers to those who will depart into "eternal fire." Verse 46 has been especially appealed to by defenders of the immortal soul view. It says the wicked will go away into "eternal punishment, but the righteous into eternal life." If "eternal life" means unending life and conscious existence, then why in the same passage doesn't "eternal punishment" mean unending conscious existence as well?

Matthew 18:8 says that "it is better for you to enter eternal life maimed or lame than...to be thrown into the eternal fire." Why would the fire be eternal if it has nothing to burn and if the wicked are annihilated, as we teach?

We need to answer all these texts.

Surprising as it might seem, "eternal" and "everlasting" do not always mean never-ending, but can actually mean "agelasting," that is, lasting for a limited period. It is important to bear in mind that what we have are English translations of the Bible and that the Scriptures were originally inspired in Hebrew, Greek, and Aramaic. To study to show ourselves approved, we have to acquire some rudimentary understanding of the biblical languages. If we are going to pronounce authoritatively on certain complex doctrinal matters, we must be equipped.

There is an easy way to prove that aionios does not always mean never-ending and that it can mean eternal in its results and consequences.

In Jude 1:7 we read that Sodom and Gomorrah suffered the "punishment of eternal fire." Yet no one believes that Sodom and Gomorrah are burning now. The inhabitants suffered the punishment of eternal fire in the sense that they were completely destroyed; the fire was eternal in its results and effects; it left nothing to be consumed.

There can be no dispute about this for there are no cities named Sodom and Gomorrah burning today! Scripture does not say they suffered the punishment of Gehenna (hell) fire, so one cannot reason that perhaps they are suffering (unknown to us) in hell. They suffered the punishment of a literal fire which swept through the area. (One scholar points out that at least seventy times in the Bible the Greek word aionios qualifies objects of a temporary and limited nature.)

The Hebrew equivalent of aionios in the Old Testament is olam, which can also mean eternal or everlasting, but is also used in reference to a limited span of time. To prove decisively that "forever" or "eternal" do not always mean never-ending, notice the following passages in which olam obviously means age-lasting or a limited time.

In Exodus 12:24 we read that the sprinkling of the blood at the Passover was to be "an ordinance for ever." The Aaronic priesthood was also said to have been a "perpetual statute" (Exodus 29:9; 40:15; Leviticus 3:17). Solomon's temple was supposed to have been everlasting (1 Kings 8:13). The ritual of tending to the light in the tabernacle was to be "a statute for ever" (Exodus 27:21). All the sacrifices and circumcision were said to last "forever." Now how many Christians, even among law-keepers, are still practicing these rituals which the Bible clearly says should be observed forever, as part of an "everlasting covenant"? Clearly, the Hebrew word olam, the equivalent of aionios in the passages quoted, means age-lasting, to be in force for the life of the Old Covenant.

Romans 16:25 talks about the revelation of the mystery which was kept secret "for long ages." What the reader of the English translations of the Bible would not know immediately is that the word translated "long ages" is aionios-the same word translated "forever" in the passages quoted about eternal fire and everlasting punishment. It is indisputable, therefore, that the word carries more than one meaning and cannot, under all circumstances, be interpreted as eternal in the sense of never-ending.

But then there is Matthew 3:12, pulled out by immortal soul advocates to prove their point. It refers to the "unquenchable fire" which will be unleashed on the lost.

Again, just as in the case of the "eternal" fire which destroyed Sodom and Gomorrah, the fire threatened by Jesus here is one which will accomplish its purpose of utter destruction, one whose purpose and mission cannot be thwarted by anyone or anything. This is the sense of the phrase.

To prove that this is not speculation, turn to Jeremiah 17:27 where a similar threat was made to a rebellious Israel. Hear the words of Yahweh: "But if you do not listen to me, to keep the sabbath day holy...then I will kindle a fire in its [Jerusalem's] gates, and it shall devour the palaces of Jerusalem and shall not be quenched."

Yahweh threatened an unquenchable fire that could not be put out by all the firemen in the world. It would achieve its purpose: the utter destruction of Jerusalem and its sinning inhabitants. The unquenchable fire, like the eternal fire, refers to the results and consequences of its action, not the duration of its time.

Isaiah 34:9,10 is a clincher. Notice the imagery of the punishment proposed for Edom: "And the streams of Edom shall be turned into a pitch, and her soil into brimstone; her land shall become burning pitch. Night and day it shall not be quenched; its smoke shall go up for ever [notice this similarity with the Revelation texts quoted earlier], from generation to generation it shall lie waste; none shall pass through it for ever and ever."

Yes, there it is! The fire would completely destroy Edom; its smoke would proverbially go up forever, "from generation to generation." The land would be desolate-no more; it would be completely destroyed. That the fire would be "eternal" and "unquenchable" means a fire which no one would be able to quench until it achieved its purpose. See also Isaiah 1:30,31: "For you shall be like an oak whose leaf withers, and like a garden without water. And the strong shall become tow, and his work a spark, and both of them shall burn together, with none to quench them."

There it is"none to quench them"clearly meaning both will burn until they become extinct, annihilated!

As Clark Pinnock has suggested in his essay in the book Four Views on Hell, "I believe that the real basis of the traditional view of the nature of hell is not in the Bible's talk of the wicked perishing, but an unbiblical anthropology that is read into the text. If a biblical reader approached the text with the assumption that souls are immortal, would they not be compelled to interpret texts that speak of the wicked being destroyed to mean that they are tortured forever since according to that supposition they cannot go out of existence?....[T]he belief in the immortality of the soul will necessarily skew the exegesis."

This is why we have dealt extensively in this booklet with the discussion of hell, for at the root of the traditional view of an ever-burning hell is the false doctrine of the immortality of the human soul.

The attempt to use Matthew 25:41,46 to prove this false doctrine fails miserably. The fact is, both the righteous and the damned will have their fates sealed eternally. The righteous will enjoy unending life as a reward and the unrighteous will suffer everlasting punishment-their punishment will be final, inexorable, irredeemable. The unrighteous will suffer everlasting punishment, not everlasting punishing!

In his book, Life and Immortality, Basil Atkinson notes that "when the adjective aionios meaning 'everlasting' is used in Greek with nouns of action it has reference to the result of the action, not the process.

"Thus, the phrase 'everlasting punishment' is comparable to 'everlasting redemption' and 'everlasting salvation,' both scriptural phrases. No one supposes that we are being redeemed or being saved forever.

"In the same way the lost will not be passing through a process of punishment for ever but will be punished once and for all, with eternal results. On the other hand, the noun 'life' is not a noun of action, but a noun expressing a state; that is, the life itself is eternal."

Finally, Samuele Bacchiocchi in his insightful book Immortality or Resurrection? says of aionios, translated "everlasting" or "forever": "Ancient Greek papyri contain numerous examples of Roman emperors being described as aionios. What is meant is that they held their office for life. Unfortunately, the English words 'eternal' or 'everlasting' do not accurately render the meaning of aionios which literally means 'age-lasting.'"

While some have tried to impose their own preconceived ideas on the biblical texts, a clear reading of the texts which refer to the fate of the wicked and the lost indicates that their end is destruction. Let's look at some plain texts.

Malachi 4:1 says that on the Day of the Lord "all evildoers will be stubble; the day that comes shall burn them up, says the Lord of hosts, so that it will leave them neither root nor branch." That text speaks most forcefully of destruction, and utter annihilation. How could we get any other concept from that text? When we are not imposing preconceived ideas on the biblical text, it is obvious that the fate of the unsaved is destruction.

Psalm 37:38 says that "transgressors shall be altogether destroyed; the posterity of the wicked shall be cut off."

In Matthew 13:30, Jesus also uses the imagery of total destruction to describe the fate of the wicked. The proverbial weeds are gathered to be burned. The metaphor is of total destruction. In Psalm 37:2, we read that the wicked will "fade like the grass"; they "shall be cut off" and "will be no more" (verses 9,10).

Hebrews 10:27 refers the "fury of fire which will consume the adversaries." Defenders of the immortal soul doctrine have often replied to the avalanche of texts showing that the wicked will be destroyed by saying that the word destruction is sometimes used to mean "put out of action." The example is used of Christ who, as it were, destroyed Satan the devil through His action on the stake, yet the devil continues to exist.

It is amazing the ingenious attempts which are made to preserve a cherished, inherited belief. While it is true that words do have several meanings, it takes no linguist with a doctorate to see that the contexts of words determine meaning. That destruction could possibly mean to put out of action and that it does take that meaning in one or a few texts does not mean that we should ignore the clear, ordinary meaning of the word as it is used in the many other texts of Scripture.

It is hard to ignore texts like Isaiah 1:28, which says that "rebels and sinners shall be destroyed together, and those who forsake the Lord shall be consumed."

There is one text that cannot rationally or exegetically be open to any other meaning than the one favored by those who deny ever-burning hell and the immortality of the soul. This text is crystal clear once one really focuses on it.

We return to the case of Sodom and Gomorrah, which were destroyed by eternal fire and are clearly not burning today. This fire was complete in its work of utter destruction. Peter says that God turned "the cities of Sodom and Gomorrah to ashes" (2 Peter 2:6). We don't have to wonder whether Sodom and Gomorrah are burning today. Those cities have been already turned to ashes as a result of the eternal fire.

So, clearly, their fire resulted in complete destruction in the ordinary sense of the word. Let's go on, for it gets more interesting. What God did was condemn them to extinctionto annihilation!not an unending burning. But it gets even more interesting, and now we'll see why there can be no other explanation of this bombshell of a text against the ever-burning hell and immortal soul concepts. In the latter part of verse 6, we are told that God "condemned them [Sodom and Gomorrah] to extinction and made them an example of those who were to be ungodly," meaning that the ungodly will suffer the same fate. What fate? Utter extinction! They will be turned to ashes (which is exactly what Malachi 4:1 says).

It could not be clearer! What Sodom and Gomorrah suffered served as an example of the kind of destruction that awaits the wicked at the end.

(Other important texts applying the word destruction to the fate of the wicked are Philippians 3:9; 1 Thessalonians 5:2,3; and 2 Thessalonians 1:9.)

An argument often used to distort the biblical truth about man is the view that only the body dies at the withdrawal of man's breath; the soul cannot. Yet Ezekiel 18:4 explicitly states that "the soul that sins shall die." Those same words are repeated in verse 20.

The Messianic text in Isaiah 53 shows that Jesus as a human being went the way of all fleshHe died. And when He died it was not just the body which died but His soul. Notice Isaiah 53:12, which predicted that the Messiah would pour out "his soul to death."

See also Psalm 89:48: "What man can live and never see death? Who can deliver his soul from the power of Sheol [the graveNKJV] ?"

Matthew 10:28 is abundantly clear: "And do not fear those who kill the body but cannot kill the soul; rather fear him who can destroy both soul and body...." The soul can be destroyed! Why do we refuse to believe the plain statements of Scripture?

The title of the book of one noted theologian, Oscar Cullman, says it all: Immortality of the Soul or Resurrection of the Dead? It is an either-or issue. You cannot have both.

What is the purpose of the resurrection if the saints are already in heaven with Christ and the wicked in hell?

Nor is there any evidence that there is some special place called "paradise" where Christians stay in transit until the resurrection when they join Christ in heaven.

The uniform testimony of Scripture is that the dead remain in their graves until the time of the resurrection.

John 5:28,29 says, "Do not marvel at this; for the hour is coming when all who are in the tombs will hear His voice and come forth, those who have done good, to the resurrection of life, and those who have done evil, to the resurrection of judgment."

Daniel 12:2 says, "And many of those who sleep in the dust of the earth shall awake, some to everlasting life, and some to shame and everlasting contempt." First Corinthians 15:52 shows that it is at the resurrection that the saved will gain immortality, and before then the dead are asleep in their graves. "For the trumpet will sound and the dead will be raised imperishable....For this perishable nature must put on the imperishable and this mortal nature must put on immortality. When the perishable puts on the imperishable, and the mortal puts on immortality, then shall come to pass the saying that is written: 'Death is swallowed up in victory.' O death, where is thy victory? O death, where is thy sting?"

First Thessalonians 4:15 refers to the dead as being "asleep." The text goes on to say that when the Lord returns "the dead in Christ will rise first" (verse 16). Now if the dead go immediately to be with the Lord at death, how can they only rise at the last trump?

The Scriptures show that at the resurrection it is the entire person who is raised, not merely his body. "The dead in Christ" are the persons who die in Christ, not just their bodies.

Look at Job 14:12 to see unequivocally that it is the person himself, not just a part of him, who rises when Christ returns: "So man [his entire being] lies down and rises not again; till the heavens are no more he will not awake; or be roused out of his sleep."

This takes us to the next point: that the Bible consistently refers to death as a sleep.

If death does not indicate unconsciousness why would the analogy of sleep be meaningful? The Psalmist refers to the "sleep of death" (Psalm 13:3). Psalm 115:17 says, "The dead do not praise the Lord, nor do any that go down into silence." Matthew 27:52 states that "the tombs also were opened, and many bodies of the saints who had fallen asleep were raised." In Acts 7:60 we read of Stephen who "fell asleep." Second Peter 3:4 speaks of those who ask, "Where is the promise of His coming? For ever since the fathers fell asleep, all things have continued...."

Other equally clear texts show unmistakably that the dead are unconscious. Psalm 146:4 says, "When his [man's] breath departs he returns to his earth; on that very day his plans ["thoughts"KJV] perish." The Psalmist asks, "Dost thou work wonders for the dead? Do the shades rise up to praise thee? ...Are thy wonders known in the darkness, or thy saving help in the land of forgetfulness?" (Psalm 88:10,12).

The idea that the saints are having a great time praising the Lord and playing on harps finds no support in the Sacred

Scriptures! The dead are asleep; they are in silence, in the land of forgetfulness! Psalm 6:5 says pointedly, "For in death there is no remembrance of thee; in Sheol [the grave] who can give thee praise?"

Immortality is set forth in Scripture as something to be sought and attained in the future. Romans 2:6,7 says that God "will render to every man according to his works; to those who by patience in well-doing seek for glory and honor and immortality, He will give eternal life."

Immortality is a gift of God through Christ. It is not possessed inherently by humans. Only the saved will be granted immortality. For proof see 2 Timothy 1:10, which states that Jesus Christ "abolished death and brought life and immortality to light through the gospel."

Let's go to the very first book of the Bible to see God's revelation of what man really is and what constitutes the soul. In Genesis 2:7 we read, significantly, that "God formed man of dust from the ground, and breathed into his nostrils the breath of life; and man became a living being [or soulKJV]." Notice that man was not given a soul; God did not breathe a soul within man. Man became a living soul, a living being.

The Hebrew word for soul is nephesh, which is often translated "person," meaning one's entire being, not some immaterial part of him. The Hebrews had a holistic conception of human beings.

In Genesis 12:5 we read of Abraham's gathering all the "persons" (nephesh, rendered "souls" in the KJV) they had gotten in Haran. Genesis 46:27 says that seventy "persons" (nephesh) went into Egypt.

Leviticus 7:20 says that the "person" (nephesh) who touches any unclean thing shall be cut off. The English translations use "soul" and "person" interchangeably in a number of texts. (The King James Version regularly uses "soul" while the Revised Standard Version uses "person"it has the same meaning and comes from the same Hebrew, nephesh.) Leviticus 23:30 says, "And whoever does any work on this same day, that person [soul] I will destroy from among his people."

The problem is that many persons reading English translations might not realize that a number of references to a "person" (or "persons") dying are translated from the Hebrew nephesh, which means soul. If they did, it would be patently clear that the notion that the soul cannot die is a flagrant error.

Numbers 31:19, for example, says, "Encamp outside the camp seven days; whoever of you has killed any person [nephesh]...." See also Numbers 35:15,30; Joshua 20:3,9; Genesis 37:21; Deuteronomy 19:6,11; and Jeremiah 40:14,15 to see that souls (persons) die.

We find in the very first revelation about man's creation that man did not possess a soul but rather was a soul. So where did we get the concept of an immaterial soul that constitutes the real person and that could have an independent existence from the body? As Clark Pinnock and other scholars have pointed out, this view in Christian theology has come from Platonic thought.

Saying that man has no immaterial soul within is not to say that man is not distinguished from the animal kingdom. Man is made in the image of God; the animals and plants are not. Man has intelligence and reasoning ability and shares a number of characteristics with his Maker. Nothing must be done to take away from man's uniqueness in the created order. However, we need not build myths to sustain our uniqueness and supremacy in the earthly created order.

Some believe that the spirit in man, which goes back to God upon death of the body, can enable man to have conscious existence at that time.

Ecclesiastes 12:7 says that "the dust returns to the earth as it was, and the spirit [ruach] returns to God who gave it."

The spirit is the life force which God breathed into man which made him a living soul. It is the life principle, the life energy, without which human life is not possible. As Job says, "If he [God] should take back his spirit [ruach] to himself, and gather to himself his breath [neshamah], all flesh would perish together, and man would return to the dust" (Job 34:14,15). The spirit animates human life. It has no separate existence apart from the body.

The breath of life which God breathed into man is equated with the spirit in man. Notice the Hebrew parallelism in Job

27:3: "[A]s long as my breath is in me, and the spirit of God in my nostrils; my lips will not speak falsehood." Notice this other parallelism (where the same thought is expressed in two ways for emphasis) in Job 33:4: "The spirit [ruach] of God has made me, and the breath [neshamah] of the Almighty gives me life."

Yet another example of this parallelism is found in Isaiah 42:5: "Thus says God, the Lord, who created the heavens and stretched them out...who gives breath to the people upon it and spirit to those who walk in it." The Scriptures are, indeed, abundantly clear that the breath of life is equated with the spirit in man.

Those who use Ecclesiastes 12:7, which says that "the spirit returns to God who gave it," to prove that the spirit is equated with the immortal soul have a very uncomfortable dilemma: They are forced to teach that everyone who dies, not just the saved, goes to heaven irrespective of whether he had a personal relationship with Jesus Christ!

No, the spirit in man is the breath of life which was given to man. As Job 34:14,15 says, "If [God] should back his spirit to himself...all flesh would perish"cease from existence.

Objection after objection crumbles as we look at the scriptural teaching on what man really is. Yet all the world's religions, all New Age philosophies, all of Eastern mysticism, and almost all of the Christian-professing world have accepted the very opposite of what the Bible teaches.

We now turn to some of the major objections raised against the view that the soul is mortal. We will see in each instance that the objection is not sustained.

Let's begin with Genesis 35:18, which says of Rachel, "And as her soul was departing (for she died), she called his name Bennoni...." Now does her soul's departing mean that it had a separate, conscious existence?

Samuele Bacchiocchi puts it well in his book Immortality or Resurrection?: "The phrase 'her soul was departing' most likely means that 'her breath was stopping' or, as we might say, she was taking her last sigh. It is important to note that the noun soul-nephesh derives from the verb by the same root which means 'to breathe,' 'to respire,' 'to draw breath.' The inbreathing of the breath of life resulted in man becoming a living soul, a breathing organism.

"The departing of the breath of life results in a person becoming a dead soul. Thus as Edmund Jacob explains, 'The departure of nephesh is a metaphor for death; a dead man is one who has ceased to breathe.'"

Another text commonly misunderstood is 1 Kings 17:21,22, which says of Elijah: "Then he stretched himself upon the child three times, and cried to the Lord, 'O Lord, my God, let this child's soul come into him again.'"

If the soul is not a separate part of the person, how could Elijah make this prayer? The Lord heard Elijah's prayer, "and the soul of the child came into him again and he revived."

Notice first that in verse 17 it is said that "there was no breath left in him," which harmonizes well with what we have covered, showing that the departure of the breath of life results in death. It was when God breathed into man's nostrils the breath of life that man became a living soul. When the breath of life came back into the widow's son mentioned here, his nephesh (or life-force) came back and he became conscious again.

The soul of the child coming back into him simply means that his life returned! Nothing more, nothing less.

But the most popular of all the misunderstood texts is found in Luke 16, which records the parable of Lazarus and the Rich Man. For many Christians, this is the single text which seals the issue.

First, note that this was a parable. It was not a real historical event or the reporting or recounting of an actual event. It was a parable, a teaching, a pedagogical device designed to express truths in symbolic or metaphorical terms.

It is important, in looking at parables, to notice the contexts carefully, to see what were the lessons which the storyteller wanted to convey.

Jesus had been teaching on covetousness and stewardship (Luke 16:1-13). Jesus usually selects an appropriate parable to illustrate his ethical teachings. The parable of the Rich Man and Lazarus was a classic one showing the rich's insensitivity to and exploitation of the poor.

Many theologians realize that Luke was the Gospel writer most concerned about social and political issues and that his gospel focuses more on the justice and equity issues. (Advocates of "Liberation Theology" are particularly fond of Luke.)

This parable highlights Luke's emphasis on concern for the poor and downtrodden and God's judgment of the selfish and sinful rich. Even the distinguished evangelical theologian Murray Harris, author of the book Raised Immortal: Resurrection and Immortality in the New Testament, admits that "the parable of the rich man and Lazarus was told to illustrate the danger of wealth (Luke 6:24) and the necessity of repentance (Luke 16:28 30), not to satisfy our natural curiosity about man's anthropological condition after death." (See his article, "The New Testament View of Life after Death" in the January, 1986, issue of the scholarly journal, Themelios.)

Continue reading here:

Immortality: God's Gift To The Saints The Church of God ...

Immortality Immorality – TV Tropes

"When one tries to rise above Nature one is liable to fall below it... Consider, Watson, that the material, the sensual, the worldly would all prolong their worthless lives. The spiritual would not avoid the call to something higher. It would be the survival of the least fit. What sort of cesspool may not our poor world become?"

Sherlock Holmes, The Adventure of the Creeping Man

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...having been all but immortal from birth, never knowing vulnerability, far too many of them never developed notions of empathy or restraint, or found them far too late.

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Teague: The trick isn't living forever, Jackie. The trick is living with yourself forever.

Blackbeard: I'm a bad man.

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Kumori: Can you imagine if da Vinci had continued to live, to study, to paint, to invent? That the remarkable accomplishments of his lifetime could have continued through the centuries rather than dying in the dim past? Can you imagine going to see Beethoven in concert? Taking a theology class taught by Martin Luther? Attending a symposium hosted by Einstein? Think, Dresden. It boggles the mind.

"Her only sin was that she loved life and all the meanings of life," said the Stygian girl. "To win life she courted death. She could not bear to think of growing old and shriveled and worn, and dying at last as hags die. She wooed Darkness like a lover and his gift was lifelife that, not being life as mortals know it, can never grow old and fade. She went into the shadows to cheat age and death "

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Narrator: [singing] Oh Marceline! Why are you so mean?

Marceline: '[singing back] I'm not mean, I'm a thousand years old, and I just lost track of my moral code.

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Immortality Immorality - TV Tropes

Immortality, Transhumanism, and Ray Kurzweils Singularity

Within thirty years, we will have the technological means to create superhuman intelligence. Shortly after, the human era will be ended. Vernor Vinge, Technological Singularity, 1983

Futurist and Inventor Ray Kurzweil has a plan: He wants to never die.

In order to achieve this goal, he currently takes over 150 supplements per day, eats a calorie restricted diet (a proven technique to prolong lifespan), drinks ionized water (a type of alkalinized water that supposedly protects against free radicals in the body), and exercises daily, all to promote the healthy functioning of his body; and at 60 years old, he reportedly has the physiology of a man 20 years younger.

But the human body, no matter how well you take care of it, is susceptible to illness, disease, and senescence the process of cellular change in the body that results in that little thing we all do called aging. (This cellular process is why humans are physiologically unable to live past the age of around 125 years old.) Kurzweil is well aware of this, but has a solution: he is just trying to live long enough in his human body until technology reaches the point where man can meld with machine, and he can survive as a cyborg with robotically enhanced features; survive, that is, until the day when he can eventually upload his consciousness onto a harddrive, enabling him to live forever as bits of information stored indefinitely; immortal, in a sense, as long as he has a copy of himself in case the computer fails.

What happens if these technological abilities dont come soon enough? Kurzweil has a back-up plan. If, for some reason, this mind-machine blend doesnt occur in his biological lifetime, Kurzweil is signed up at Alcor Life Extension Foundation to be cryonically frozen and kept in Scottsdale, Arizona, amongst approximately 900 other stored bodies (including famous baseball player Ted Williams) who are currently stored. There at Alcor, he will wait until the day when scientists discover the ability to reanimate life back into him and not too long, as Kurzweil believes this day will be in about 50 years.

Watch a video on Alcor and Cryonics here:

Ray Kurzweil is a fascinating and controversial figure, both famous and infamous for his technological predictions. He is a respected scientist and inventor, known for his accurate predictions of a number of technological events, and recently started The Singularity University here in Silicon Valley, an interdisciplinary program (funded in part by Google) aimed to assemble, educate and inspire a cadre of leaders around issues of accelerating technologies.

Ray Kurzweil

Kurzweils most well-known predictions are encapsulated in this event he forecasts called The Singularity, a period of time he predicts in the next few decades when artificial intelligence will exceed human intelligence, and technologies like genetic engineering, nanotechnology, and computer technology will radically transform human life, enabling mind, body and machine to become one.

He is also a pioneer of a movement called transhumanism, which is defined by this belief that technology will ultimately replace biology, and rid human beings of all the things that, well, make us human, like disease, aging, and you guessed itdeath. Why be human when you can be something better? When Artificial intelligence and nanotechnology comes around in the singularity, Kurzweil thinks, being biologically human will become obsolete. With cyborg features and enhanced cognitive capacities, we will have fewer deficiencies, and more capabilities; we will possess the ability to become more like machines, and well be better for it.

Watch A Preview For A Film About Kurzweil entitled Transcendent Man:

Kurzweil outlines his vision of our technological future in his article Reinventing Humanity: The Future of Machine-Human Intelligence for Futurist Magazine, which raises some juicy points to consider from the perspective of ethics and technology. He explains The Singularity, in his own words,:

We stand on the threshold of the most profound and transformative event in the history of humanity, the singularity.

What is the Singularity? From my perspective, the Singularity is a future period during which the pace of technological change will be so fast and far-reaching that human existence on this planet will be irreversibly altered. We will combine our brain powerthe knowledge, skills, and personality quirks that make us humanwith our computer power in order to think, reason, communicate, and create in ways we can scarcely even contemplate today.

This merger of man and machine, coupled with the sudden explosion in machine intelligence and rapid innovation in the fields of gene research as well as nanotechnology, will result in a world where there is no distinction between the biological and the mechanical, or between physical and virtual reality. These technological revolutions will allow us to transcend our frail bodies with all their limitations. Illness, as we know it, will be eradicated. Through the use of nanotechnology, we will be able to manufacture almost any physical product upon demand, world hunger and poverty will be solved, and pollution will vanish. Human existence will undergo a quantum leap in evolution. We will be able to live as long as we choose. The coming into being of such a world is, in essence, the Singularity.

The details of the coming Singularity, Kurzweil outlines, will occur in three areas: The genetic revolution, the nanotech revolution, and strong AI: which means, essentially, machines that are smarter than humans.

The first he describes is the nanotechnology revolution, which refers to a type of technology that manipulates matter on an atomic and molecular scale, potentially allowing us to reassemble matter in a variety of ways. Kurzweil believes nanotechnology will give us the capability to create atomic size robots that can clean our blood cells and eradicate disease; he also thinks nanotechnology will allow us to create essentially anything by assembling it through nanobots (for example, he thinks that nanotechnology will enable us to e-mail physical things like clothing, much like we can currently e-mail audio-files). He explains:

The nanotechnology revolution will enable us to redesign and rebuildmolecule by moleculeour bodies and brains and the world with which we interact, going far beyond the limitations of biology.

In the future, nanoscale devices will run hundreds of tests simultaneously on tiny samples of a given substance. These devices will allow extensive tests to be conducted on nearly invisible samples of blood.

In the area of treatment, a particularly exciting application of this technology is the harnessing of nanoparticles to deliver medication to specific sites in the body. Nanoparticles can guide drugs into cell walls and through the blood-brain barrier. Nanoscale packages can be designed to hold drugs, protect them through the gastrointestinal tract, ferry them to specific locations, and then release them in sophisticated ways that can be influenced and controlled, wirelessly, from outside the body.

In regards to AI, Kurzweil envisions what will eventually become a post-human future, where we upload our consciousness to computers and live forever as stored information:

The implementation of artificial intelligence in our biological systems will mark an evolutionary leap forward for humanity, but it also implies we will indeed become more machine than human. Billions of nanobots will travel through the bloodstream in our bodies and brains. In our bodies, they will destroy pathogens, correct DNA errors, eliminate toxins, and perform many other tasks to enhance our physical well-being. As a result, we will be able to live indefinitely without aging.

Despite the wonderful future potential of medicine, real human longevity will only be attained when we move away from our biological bodies entirely. As we move toward a software-based existence, we will gain the means of backing ourselves up (storing the key patterns underlying our knowledge, skills, and personality in a digital setting) thereby enabling a virtual immortality. Thanks to nanotechnology, we will have bodies that we can not just modify but change into new forms at will. We will be able to quickly change our bodies in full-immersion virtual-reality environments incorporating all of the senses during the 2020s and in real reality in the 2040s.

Now, the idea of becoming nanobot driven robots is hard to wrap ones head around, particurlaly living in a time when people struggle to get their blue-tooths to work correctly. But even though to most people, these predictions seem very extreme, Kurzweil explains why he thinks these changes are coming fast, even if we cant conceive of them now. He explains that, in the vein of Moores law (which describes how the density of transistors on computer chips has doubled every two years since its invention), technology develops exponentially and thus the rate of change is rapidly increasing in the modern day:

We wont experience 100 years of technological advance in the twenty-first century; we will witness on the order of 20,000 years of progress

How is it possible we could be so close to this enormous change and not see it? The answer is the quickening nature of technological innovation. In thinking about the future, few people take into consideration the fact that human scientific progress is exponential

In other words, the twentieth century was gradually speeding up to todays rate of progress; its achievements, therefore, were equivalent to about 20 years of progress at the rate of 2000. Well make another 20 years of progress in just 14 years (by 2014), and then do the same again in only seven years. To express this another way, we wont experience 100 years of technological advance in the twenty-first century; we will witness on the order of 20,000 years of progress (again, when measured by todays progress rate), or progress on a level of about 1,000 times greater than what was achieved in the twentieth century.

Reflections

There are so many questions to ask, its hard to know where to start. Considering The Singularity, many questions arise (the first, which youre probably thinking, is Is this really possible?!) But that question put temporarily aside, some questions seem to be: what are the promise and perils of nanotechnology, and how can we approach them responsibly?What types of genetic engineering, if any, should we pursue, and what types should we avoid? If we really could live forever, should weparticularly if it meant living no longer as humans, but as machines? And what happens to who we are as human beings our beliefs, our religions and faiths, our thoughts about our purpose if we pursue this type of future?

Each of these topics is rife with ethical and existential questions; and discussion of many of them requires scientific knowledge that extends beyond my ability to represent them here. But contemplating these questions broadly, even in spite of extensive knowledge of their specifics, brings into focus some fundamental questions about the principles of human experience, and about the broad issue of our technological future and how to approach it.The more we envision a technologically saturated future, I think, the more our human values are called upon to be revealed as we react, respond, flinch, or embrace the pictures of our future reflected in these predictions. They ask us to consider: what do we value about being human? What do we want to hold on to about being human, and what do want to replace, augment, and transform with technology? Is living as stored information really any life at all?

In addition to these questions, exploring these futuristic issues calls us to consider some of our fundamental principles about technology. A basic yet extremely complex question arises: Should all technology be pursued? In other words, should we ever restrict technological innovation, and say that some technologies, because of their risks to humanity, or to certain human values simply shouldnt be developed?

Reflections on this question bring up the topic of techno-optimism and techno-pessimism, which I wrote about briefly here.

Kurzweil, it seems to go without saying, is a fullfledged techno-optimist, interested in letting technology run its full reign, even if that means leaving everything that is recognizeably human behind. He concedes that we need to be responsible about our use of nanotechnology a technology which some fear could bring about the end of the world (see the grey goo theory) but for the most part is a proponent of full fledged technological expansion. Reflection is important, but no amount should limit technologies:

We dont have to look past today to see the intertwined promise and peril of technological advancement, he says. Imagine describing the dangers (atomic and hydrogen bombs for one thing) that exist today to people who lived a couple of hundred years ago. They would think it mad to take such risks. But how many people in 2006 would really want to go back to the short, brutish, disease-filled, poverty-stricken, disaster-prone lives that 99% of the human race struggled through two centuries ago?

We may romanticize the past, but up until fairly recently most of humanity lived extremely fragile lives in which one all-too-common misfortune could spell disaster. Two hundred years ago, life expectancy for females in the record-holding country (Sweden) was roughly 35-five years, very brief compared with the longest life expectancy today-almost 85 years for Japanese women. Life expectancy for males was roughly 33 years, compared with the current 79 years. Half a day was often required to prepare an evening meal, and hard labor characterized most human activity. There were no social safety nets. Substantial portions of our species still live in this precarious way, which is at least one reason to continue technological progress and the economic improvement that accompanies it. Only technology, with its ability to provide orders of magnitude of advances in capability and affordability has the scale to confront problems such as poverty, disease, pollution, and the other overriding concerns of society today. The benefits of applying ourselves to these challenges cannot be overstated.

But another, more technologically conservative view is important to consider, one characterized by thinkers who question whether these technologies should be proliferated, or even pursued at all.

William Joy, co-founder of Sun Microsystems, famously countered Kurzweils predictions in his article, Why The Future Doesnt Need Us. He opens his article discussing his meeting with Kurzweil:

I had always felt sentient robots were in the realm of science fiction. But now, from someone I respected, I was hearing a strong argument that they were a near-term possibility

From the moment I became involved in the creation of new technologies, their ethical dimensions have concerned me, but it was only in the autumn of 1998 that I became anxiously aware of how great are the dangers facing us in the 21st century. I can date the onset of my unease to the day I met Ray Kurzweil, the deservedly famous inventor of the first reading machine for the blind and many other amazing things.

I had always felt sentient robots were in the realm of science fiction. But now, from someone I respected, I was hearing a strong argument that they were a near-term possibility. I was taken aback, especially given Rays proven ability to imagine and create the future. I already knew that new technologies like genetic engineering and nanotechnology were giving us the power to remake the world, but a realistic and imminent scenario for intelligent robots surprised me.

Joy then discusses how these technologies (namely nanotechnology and artificial intelligence) pose a new, unparralleled threat to humanity, and that as a result, we shouldnt pursue them in fact, we should purposefully restrict them, on the principle that the amount of harm and threat they pose to humanity itself outweighs what benefit they could bring.

Accustomed to living with almost routine scientific breakthroughs, we have yet to come to terms with the fact that the most compelling 21st-century technologies robotics, genetic engineering, and nanotechnology pose a different threat than the technologies that have come before. Specifically, robots, engineered organisms, and nanobots share a dangerous amplifying factor: They can self-replicate. A bomb is blown up only once but one bot can become many, and quickly get out of control.

Failing to understand the consequences of our inventions while we are in the rapture of discovery and innovation seems to be a common fault of scientists and technologists; we have long been driven by the overarching desire to know that is the nature of sciences quest, not stopping to notice that the progress to newer and more powerful technologies can take on a life of its own.

We are being propelled into this new century with no plan, no control, no brakes. Have we already gone too far down the path to alter course? I dont believe so, but we arent trying yet, and the last chance to assert control the fail-safe point is rapidly approaching. We have our first pet robots, as well as commercially available genetic engineering techniques, and our nanoscale techniques are advancing rapidly. While the development of these technologies proceeds through a number of steps, it isnt necessarily the case as happened in the Manhattan Project and the Trinity test that the last step in proving a technology is large and hard. The breakthrough to wild self-replication in robotics, genetic engineering, or nanotechnology could come suddenly, reprising the surprise we felt when we learned of the cloning of a mammal.

He closes his essay saying:

Thoreau also said that we will be rich in proportion to the number of things which we can afford to let alone. We each seek to be happy, but it would seem worthwhile to question whether we need to take such a high risk of total destruction to gain yet more knowledge and yet more things; common sense says that there is a limit to our material needs and that certain knowledge is too dangerous and is best forgone.

Neither should we pursue near immortality without considering the costs A technological approach to Eternity near immortality through robotics may not be the most desirable utopia, and its pursuit brings clear dangers. Maybe we should rethink our utopian choices.

Another view that counters Kurzweils is presented by Richard Eckersley, focused a bit less on the scientific dangers and more on the threat to human values:

Why pursue this(Kurzweils) future?The future world that Ray Kurzweil describes bears almost no relationship to human well-being that I am aware of. In essence, human health and happiness comes from being connected and engaged, from being suspended in a web of relationships and interestspersonal, social and spiritual that give meaning to our lives. The intimacy and support provided by close personal relationships seem to matter most; isolation exacts the highest price. The need to belong is more important than the need to be rich. Meaning matters more than money and what it buys.

We are left with the matter of destiny: it is our preordained fate, Kurzweil suggests, to advance technologically until the entire universe is at our fingertips. The question then becomes, preordained by whom or what? Biological evolution has not set this course for us; Is technology itself the planner? Perhaps it will eventually be, but not yet.

We are left to conclude that we will do this because it is we who have decided it is our destiny.

Joy and Eckersley powerfully warn against our pursuit of a Kurzweil-type future. So we may be able to have the technical ability to achieve machine-like capacities; does that mean we should? This technological future, though perhaps possible, should not be preferable. The technologies that Kurzweil speaks of are dangerous, presenting a new type of threat that we have not before faced as humans and the risks of pursuing them far outweigh the benefits.

We may find ourselves equipped with the capacity to alter ourselves and the world, and yet unable to handle or control that immense power

If we are to continue down Kurzweils path, we may be able to pursue remarkable things conceived of mostly so far in science fiction a future where we are no longer humans at all, but artifacts of our own technological creations. But if we are to heed Joys and Eckersleys views, we would practice saying enough is enough we would say we have sufficient technology to live reasonably happy lives, and by encouraging the development of these new technologies, we might be unleashing entities of pandoras box that could put humanity in ruins forever. We would say, Yes, there is tremendous promise in these technologies; but there is more so a tremendous risk. We need to hold fast to the human values of restraint and temperance, lest we find ourselves equippedwiththe capacity to alter ourselves and the world, and yet unable to handle or control that immense power.

So the camps seem to be these: Kurzweil believes technology reduces suffering, and that we should pursue it for that reason to any end even until we are no longer human, but become technology ourselves. (Indeed, he feels we have a moral imperative to pursue them for this reason.) Joy believes there are too many dangers in this type of future. And Eckersley asks, why would we want this future, anyway? I am left thinking about a number of things:

First, I am intrigued by Kurzweils unwavering love for technology because it seems to me like technology has both its strengths and its weaknesses, and that such faith in a technological system greatly overinflates the capacities of technology to cure all of the worlds problems while overlooking its very real drawbacks.I wonder about putting so much faith in technology, to solve all our ills, and replace all our deficiencies. Is it really such a healing, improving force? Would it really be possible to achieve this technological utopia without some potentially disastrous consequences?

I also cant help but wonder what role technology, as its own force, plays in this debate. People often fear about rebellious robots or artificially intelligent beings taking over; but is technology already, in a sense guiding us, in control of us, instead of us controlling it? It seems harder and harder to resist the grip of technology, even as we face a future that, as Joy says, no longer needs us. Isnt there something a bit strange about humans contemplatingand preferring a post-human future? Does it indicate, in some sense, that technology has already overtaken man, and is gearing us down a path until it fully reigns supreme?

If we arent drawing the line at genetic engineering, nanotechnology, and artificial intelligence, does that mean we will never actually draw a line?

I am also left wondering, in part because of the aforementioned reason, whether it is possible to forego the development of certain technologies, as Joy suggests, given our current track record and inclinations towards the use of technology. It always seems with technology that if we have the capacity to do something, then we inevitably will. Is it possible to stop the development of technology, especially if that means also giving up some of its potential benefits? And if we arent drawing the line at genetic engineering, nanotechnology, and artificial intelligence, does that mean we will never actually draw a line? What does that say about human nature that we forever seek this sort of technological progress, even when it robs us of what we currently conceive of as making us human? Are there core values to being human that will persevere, or are we really just a fleeting blip in the evolutionary climb towards becoming transhumans?

Concluding Thoughts

The ideas Kurzweil puts forth as his vision of our future really forces one to consider what things about being human seem worth holding onto (if any). And even if his predictions dont materialize in the way or the time frame he anticipates, it does seem undeniable that we are at a critical turning point in our species history. Indeed, the decisions we choose to make now in regards to these fundamentally reshaping technologies will affect generations to come in a profound way generations whose lives will be radically different based on what roads we choose to go down in regards to genetic engineering, artificial intelligence, and nanotechnology.

But making these choices is not strictly a technical task, concerned merely with what we are able to, technologically speaking, accomplish; rather, it really requires us to decideour core beliefs about what makes a good life; to consider what is worth risking about being human beings, not only to alleviate suffering but also to engage in these self-enhancing technologies that will supposedly make us stronger, smarter, and less destructible; and to grapple with these fundamental questions of life and death that are not technological issues but rather metaphysical ones. Indeed, its no small philosophical feat to reshape and change the human genome; its no small feat to create artificial beings smarter than human beings; and its no small feat to eradicate what has, since the birth of mankind, defined our human experience: the fleeting nature of life, and the inevitability of death. Taking this power and control into our own hands requires not just the capability to achieve extended life from a technical standpoint, but a completely redefined scope of who we are, what we want, and what our purpose is on this planet.

There are questions, of course, about the moral decision of living forever. What would we do about overpopulation would we stop procreating completely? Does a person living now have more of a right to be alive than a person who hasnt been born yet? Where would we derive purpose from in life if there was no end point? These would all be real questions to consider in this type of scenario; and they are questions that would require real reflection. With a reshaped experience of what it means to be human, we would be required to make decisions about our lives that weve never even had to consider making before.

But if Kurzweil is correct, then never have we had such power over our own destinies. In Kurzweils world, there is no higher power or God divining our life course, nor is there an afterlife or Heaven worth gaining entrance to. The biological and technical underpinnings of life are, in his view, manipulatable at our will; we can defy what some might call our God- given biology and we can become our own makers. We can even make our own rules. And along with that power, would come the responsibility to answer some very weighty philosophical questions, for nothing else would be determining those answers for us.

My question is, do we really want that responsibility? Are we really equipped to handle that type of power? And furthermore, does getting caught up in all the ways these technologies could enhance our lives in getting caught up in the idea that all technological innovation is definitively progress are we less and less able to step back and ask the philosophical and ethical questions about if this isreally what a good life looks like?

Questions:

When you envision our technological future, do you share Kurzweils dreams? Joys fears? Eckersleys questions about our human values being lost?

Should we place limits on certain technologies, given the dangers they present? Are there any types of technologies we simply shouldnt pursue?

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Immortality, Transhumanism, and Ray Kurzweils Singularity

Who Wants to Live Forever? – TV Tropes

Angel: Buffy, be careful with this gift. A lot of things that seem strong, good and powerful, they can be painful. Buffy: Like say... immortality? Angel: Exactly. I'm dying to get rid of that.Put your hand down. This is not a vote.The worst fate possible might well be immortality. Sure, you might like the idea that you get to live forever and see what the world's like hundreds of years from now, but what's eternal life compared to the pain of life in general? From eventual boredom to eternal entrapment and torture to the emotional anguish of seeing your loved ones die, one by one, as you stay fixed in time.When done Anviliciously, this can seem like Sour Grapes on the part of the very much mortal writers. May be used as a Fantastic Aesop.This attitude toward immortality is Older Than Feudalism, going back at least as far as the Greek myths about Tithonos's Age Without Youth and Prometheus's punishment and of course the appeal behind He why is your hand still up!?Compare Blessed with Suck for those that angst as well as And I Must Scream for the mindset this can create.Contrast Living Forever Is Awesome for those who like it, and Immortality Seeker for those who seek it, and Eternal Love where immortals fall in love. See Living Forever Is No Big Deal for the middle ground.See also Immortality Hurts, which is a subtrope. Immunity Disability is a supertrope (here, the "immunity" is to death).See Analysis for more horrifying details.

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A thousand years have come and gone, but time has passed me by Stars stopped in the sky Frozen in an everlasting view Waiting for the world to end, weary of the night Praying for the light Prison of the lost Xanadu

And there's never gonna be enough money And there's never gonna be drugs And we're never gonna get old And there's never gonna be enough bullets And there's never gonna be sex And we're never gonna get old

If I've lived a thousand times before And if I'm gonna live anymore Always brings me down Everyone wants to live forever Thinkin' that it'd be a lot better... Everyone wants to live forever But no one ever gets it together

Radiation got me as well made me immortal in this hell An old dream coming true but why now when there is nothing to do? Since then I've been searching around going from town to town Could it only have happened to me? Am I doomed to be I'm the last man on earth

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"Eternity is permanent boredom A cheerless cycle with neither beginning, nor end For all the time the same is repeated from the start No exultation, no horror Only the boring Idiotic Eternity"

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Nothing ever really happens to me. I am completely safe from harm, and this is a great burden... I think that one day, this world will simply talk itself to death, and I will be left to flit about in the void. I will be the Faceless Old Woman Who Secretly Lives Nowhere.

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Freeze: You want to live like this? Abandoned and alone, A prisoner in a world you can see but never touch. Old and infirm as you are, I'd trade a thousand of my frozen years for your worst day.

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Who Wants to Live Forever? - TV Tropes

536. Ode. Intimations of Immortality. William Wordsworth. The Oxford …

THERE was a time when meadow, grove, and stream,The earth, and every common sight,To me did seemApparell'd in celestial light,The glory and the freshness of a dream.5It is not now as it hath been of yore;Turn wheresoe'er I may,By night or day,The things which I have seen I now can see no more.The rainbow comes and goes,10And lovely is the rose;The moon doth with delightLook round her when the heavens are bare;Waters on a starry nightAre beautiful and fair;15The sunshine is a glorious birth;But yet I know, where'er I go,That there hath pass'd away a glory from the earth.Now, while the birds thus sing a joyous song,And while the young lambs bound20As to the tabor's sound,To me alone there came a thought of grief:A timely utterance gave that thought relief,And I again am strong:The cataracts blow their trumpets from the steep;25No more shall grief of mine the season wrong;I hear the echoes through the mountains throng,The winds come to me from the fields of sleep,And all the earth is gay;Land and sea30Give themselves up to jollity,And with the heart of MayDoth every beast keep holiday;Thou Child of Joy,Shout round me, let me hear thy shouts, thou happy35Shepherd-boy!Ye blessd creatures, I have heard the callYe to each other make; I seeThe heavens laugh with you in your jubilee;My heart is at your festival,40My head hath its coronal,The fulness of your bliss, I feelI feel it all.O evil day! if I were sullenWhile Earth herself is adorning,This sweet May-morning,45And the children are cullingOn every side,In a thousand valleys far and wide,Fresh flowers; while the sun shines warm,And the babe leaps up on his mother's arm:50I hear, I hear, with joy I hear!But there's a tree, of many, one,A single field which I have look'd upon,Both of them speak of something that is gone:The pansy at my feet55Doth the same tale repeat:Whither is fled the visionary gleam?Where is it now, the glory and the dream?Our birth is but a sleep and a forgetting:The Soul that rises with us, our life's Star,60Hath had elsewhere its setting,And cometh from afar:Not in entire forgetfulness,And not in utter nakedness,But trailing clouds of glory do we come65From God, who is our home:Heaven lies about us in our infancy!Shades of the prison-house begin to closeUpon the growing Boy,But he beholds the light, and whence it flows,70He sees it in his joy;The Youth, who daily farther from the eastMust travel, still is Nature's priest,And by the vision splendidIs on his way attended;75At length the Man perceives it die away,And fade into the light of common day.Earth fills her lap with pleasures of her own;Yearnings she hath in her own natural kind,And, even with something of a mother's mind,80And no unworthy aim,The homely nurse doth all she canTo make her foster-child, her Inmate Man,Forget the glories he hath known,And that imperial palace whence he came.85Behold the Child among his new-born blisses,A six years' darling of a pigmy size!See, where 'mid work of his own hand he lies,Fretted by sallies of his mother's kisses,With light upon him from his father's eyes!90See, at his feet, some little plan or chart,Some fragment from his dream of human life,Shaped by himself with newly-learnd art;A wedding or a festival,A mourning or a funeral;95And this hath now his heart,And unto this he frames his song:Then will he fit his tongueTo dialogues of business, love, or strife;But it will not be long100Ere this be thrown aside,And with new joy and prideThe little actor cons another part;Filling from time to time his 'humorous stage'With all the Persons, down to palsied Age,105That Life brings with her in her equipage;As if his whole vocationWere endless imitation.Thou, whose exterior semblance doth belieThy soul's immensity;110Thou best philosopher, who yet dost keepThy heritage, thou eye among the blind,That, deaf and silent, read'st the eternal deep,Haunted for ever by the eternal mind,Mighty prophet! Seer blest!115On whom those truths do rest,Which we are toiling all our lives to find,In darkness lost, the darkness of the grave;Thou, over whom thy ImmortalityBroods like the Day, a master o'er a slave,120A presence which is not to be put by;To whom the graveIs but a lonely bed without the sense or sightOf day or the warm light,A place of thought where we in waiting lie;125Thou little Child, yet glorious in the mightOf heaven-born freedom on thy being's height,Why with such earnest pains dost thou provokeThe years to bring the inevitable yoke,Thus blindly with thy blessedness at strife?130Full soon thy soul shall have her earthly freight,And custom lie upon thee with a weight,Heavy as frost, and deep almost as life!O joy! that in our embersIs something that doth live,135That nature yet remembersWhat was so fugitive!The thought of our past years in me doth breedPerpetual benediction: not indeedFor that which is most worthy to be blest140Delight and liberty, the simple creedOf childhood, whether busy or at rest,With new-fledged hope still fluttering in his breast:Not for these I raiseThe song of thanks and praise;145But for those obstinate questioningsOf sense and outward things,Fallings from us, vanishings;Blank misgivings of a CreatureMoving about in worlds not realized,150High instincts before which our mortal NatureDid tremble like a guilty thing surprised:But for those first affections,Those shadowy recollections,Which, be they what they may,155Are yet the fountain-light of all our day,Are yet a master-light of all our seeing;Uphold us, cherish, and have power to makeOur noisy years seem moments in the beingOf the eternal Silence: truths that wake,160To perish never:Which neither listlessness, nor mad endeavour,Nor Man nor Boy,Nor all that is at enmity with joy,Can utterly abolish or destroy!165Hence in a season of calm weatherThough inland far we be,Our souls have sight of that immortal seaWhich brought us hither,Can in a moment travel thither,170And see the children sport upon the shore,And hear the mighty waters rolling evermore.Then sing, ye birds, sing, sing a joyous song!And let the young lambs boundAs to the tabor's sound!175We in thought will join your throng,Ye that pipe and ye that play,Ye that through your hearts to-dayFeel the gladness of the May!What though the radiance which was once so bright180Be now for ever taken from my sight,Though nothing can bring back the hourOf splendour in the grass, of glory in the flower;We will grieve not, rather findStrength in what remains behind;185In the primal sympathyWhich having been must ever be;In the soothing thoughts that springOut of human suffering;In the faith that looks through death,190In years that bring the philosophic mind.And O ye Fountains, Meadows, Hills, and Groves,Forebode not any severing of our loves!Yet in my heart of hearts I feel your might;I only have relinquish'd one delight195To live beneath your more habitual sway.I love the brooks which down their channels fret,Even more than when I tripp'd lightly as they;The innocent brightness of a new-born DayIs lovely yet;200The clouds that gather round the setting sunDo take a sober colouring from an eyeThat hath kept watch o'er man's mortality;Another race hath been, and other palms are won.Thanks to the human heart by which we live,205Thanks to its tenderness, its joys, and fears,To me the meanest flower that blows can giveThoughts that do often lie too deep for tears.

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536. Ode. Intimations of Immortality. William Wordsworth. The Oxford ...

Immortality Seeker – TV Tropes

When a character quests for eternal life. Sometimes it's given to them, sometimes it isn't. Sometimes it's given to them and they regret the consequences, but their desire and actions towards immortality are what count towards this trope.Originally, this trope could be used for heroes and villains alike, as evidenced by quests for the Holy Grail and The Epic of Gilgamesh. Later it became one of the typical goals of an Evil Plan and thus the methods of achieving it were nasty, vile, and despicable. When heroes seek it they usually ultimately learn An Aesop and refocus their goals.See Immortality (and in particular Immortality Inducer) for ways to achieve it and Living Forever Is Awesome and Mortality Phobia for why they want to achieve it. Supertrope to Immortality Immorality, where seekers of immortality tend to resort to bad deeds to achieve it. Contrast Who Wants to Live Forever? for people that have immortality and hate it. Also Death Seeker for those seeking death instead. Not to be confused with Glory Seeker, someone who might want to go down in history, but doesn't seek literal immortality.Courtesy of The Epic of Gilgamesh, this trope is Older Than Dirt.

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"Dark in here, isn't it?"

"And lastly there is the oldest and deepest desire, the Great Escape: the Escape from Death. Fairy-stories provide many examples and modes of this Fairy-stories are made by men not by fairies. The Human-stories of the elves are doubtless full of the Escape from Deathlessness."

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Immortality Seeker - TV Tropes

IMMORTALITY OF THE SOUL – JewishEncyclopedia.com

The belief that the soul continues its existence after the dissolution of the body is a matter of philosophical or theological speculation rather than of simple faith, and is accordingly nowhere expressly taught in Holy Scripture. As long as the soul was conceived to be merely a breath ("nefesh"; "neshamah"; comp. "anima"), and inseparably connected, if not identified, with the life-blood (Gen. ix. 4, comp. iv. 11; Lev. xvii. 11; see Soul), no real substance could be ascribed to it. As soon as the spirit or breath of God ("nishmat" or "rua ayyim"), which was believed to keep body and soul together, both in man and in beast (Gen. ii. 7, vi. 17, vii. 22; Job xxvii. 3), is taken away (Ps. cxlvi. 4) or returns to God (Eccl. xii. 7; Job xxxiv. 14), the soul goes down to Sheol or Hades, there to lead a shadowy existence without life and consciousness (Job xiv. 21; Ps. vi. 6 [A. V. 5], cxv. 17; Isa. xxxviii. 18; Eccl. ix. 5, 10). The belief in a continuous life of the soul, which underlies primitive Ancestor Worship and the rites of necromancy, practised also in ancient Israel (I Sam. xxviii. 13 et seq.; Isa. viii. 19; see Necromancy), was discouraged and suppressed by prophet and lawgiver as antagonistic to the belief in Yhwh, the God of life, the Ruler of heaven and earth, whose reign was not extended over Sheol until post-exilic times (Ps. xvi. 10, xlix. 16, cxxxix. 8).

As a matter of fact, eternal life was ascribed exclusively to God and to celestial beings who "eat of the tree of life and live forever" (Gen. iii. 22, Hebr.), whereas man by being driven out of the Garden of Eden was deprived of the opportunity of eating the food of immortality (see Roscher, "Lexikon der Griechischen und Rmischen Mythologie," s.v. "Ambrosia"). It is the Psalmist's implicit faith in God's omnipotence and omnipresence that leads him to the hope of immortality (Ps. xvi. 11, xvii. 15, xlix. 16, lxxiii. 24 et seq., cxvi. 6-9); whereas Job (xiv. 13 et seq., xix. 26) betrays only a desire for, not a real faith in, a life after death. Ben Sira (xiv. 12, xvii. 27 et seq., xxi. 10, xxviii. 21) still clings to the belief in Sheol as the destination of man. It was only in connection with the Messianic hope that, under the influence of Persian ideas, the belief in resurrection lent to the disembodied soul a continuous existence (Isa. xxv. 6-8; Dan. xii. 2; see Eschatology; Resurrection).

The belief in the immortality of the soul came to the Jews from contact with Greek thought and chiefly through the philosophy of Plato, its principal exponent, who was led to it through Orphic and Eleusinian mysteries in which Babylonian and Egyptian views were strangely blended, as the Semitic name "Minos" (comp. "Minotaurus"), and the Egyptian "Rhadamanthys" ("Ra of Ament," "Ruler of Hades"; Naville, "La Litanie du Soleil," 1875, p. 13) with others, sufficiently prove. Consult especially E. Rhode, "Psyche: Seelencult und Unsterblichkeitsglaube der Griechen," 1894, pp. 555 et seq. A blessed immortality awaiting the spirit while the bones rest in the earth is mentioned in Jubilees xxiii. 31 and Enoch iii. 4. Immortality, the "dwelling near God's throne" "free from the load of the body," is "the fruit of righteousness," says the Book of Wisdom (i. 15; iii. 4; iv. 1; viii. 13, 17; xv. 3). In IV Maccabees, also (ix. 8, 22; x. 15; xiv. 5; xv. 2; xvi. 13; xvii. 5, 18), immortality of the soul is represented as life with God in heaven, and declared to be the reward for righteousness and martyrdom. The souls of the righteous are transplanted into heaven and transformed into holy souls (ib. xiii. 17, xviii. 23). According to Philo, the soul exists before it enters the body, a prison-house from which death liberates it; to return to God and live in constant contemplation of Him is man's highest destiny (Philo, "De Opificio Mundi," 46, 47; idem, "De Allegoriis Legum," i., 33, 65; iii., 14, 37; idem, "Quis Rerum Divinarum Hres Sit," 38, 57).

It is not quite clear whether the Sadducees, in denying resurrection (Josephus, "Ant." xviii. 1, 4; idem, "B. J." ii. 12; Mark xii. 18; Acts xxiii. 8; comp. Sanh. 90b), denied also the immortality of the soul (see Ab. R. N., recension B. x. [ed. Schechter, 26]). Certain it is that the Pharisaic belief in resurrection had not even a name for the immortality of the soul. For them, man was made for two worlds, the world that now is, and the world to come, where life does not end in death (Gen. R. viii.; Yer. Meg. ii. 73b; M. . iii. 83b, where the words , Ps. xlviii. 15, are translated by Aquilas as if they read: , "no death," ).

The point of view from which the asidim regarded earthly existence was that man was born for another and a better world than this. Hence Abraham is told by God: "Depart from this vain world; leave the body and go to thy Lord among the good" (Testament of Abraham, i.). The immortality of martyrs was especially dwelt on by the Essenes (Josephus, "B. J." vii. 8, 7; i. 33, 2; comp. ii. 8, 10, 14; idem, "Ant." xviii. 1, 5). The souls of the righteous live like birds (See Jew. Encyc. iii. 219, s.v. Birds) in cages ("columbaria") guarded by angels (IV Esd. vii. 32, 95; Apoc. Baruch, xxi. 23, xxx. 2; comp. Shab. 152b). According to IV Esdras iv. 41 (comp. Yeb. 62a), they are kept in such cages () before entering upon earthly existence. The soul of martyrs also have a special place in heaven, according to Enoch (xxii. 12, cii. 4, cviii. 11 et seq.); whereas the Slavonic Enoch (xxiii. 5) teaches that "every soul was created for eternity before the foundation of the world." This Platonic doctrine of the preexistence of the soul (comp. Wisdom viii. 20; Philo, "De Gigantibus," 3 et seq.; idem, "De Somniis," i., 22) is taught also by the Rabbis, who spoke of a storehouse of the souls in the seventh heaven ("'Arabot"; Sifre, Deut. 344; ag. 12b). In Gen. R. viii. the souls of the righteous are mentioned as counselors of God at the world's creation (comp. the Fravashi in "Farwardin Yast," in "S. B. E." xxiii. 179).

Upon the belief that the soul has a life of its own after death is based the following story: "Said Emperor Antoninus to Judah ha-Nasi, 'Both body and soul could plead guiltless on the day of judgment, as neither sinned without the other.' 'But then,' answered Judah, 'God reunites both for the judgment, holding them both responsible for the sin committed, just as in the fable the blind and the lame are punished in common for aiding each other in stealing the fruit of the orchard'" (Sanh. 91a; Lev. R. iv.). "There is neither eating nor drinking nor any sensual pleasure nor strife in the world to come, but the righteous with their crowns sit around the table of God, feeding upon the splendor of His majesty," said Rab (Ber. 17a), thus insisting that the nature of the soul when freed from the body is purely spiritual, while the common belief loved to dwell upon the banquet prepared for the pious in the world to come (see Eschatology; Leviathan). Hence the saying, "Prepare thyself in the vestibule that thou mayest be admitted into the triclinium"; that is, "Let this world be a preparation for the next" (Ab. iv. 16). The following sayings also indicate a pure conception of the soul's immortality: "The Prophets have spoken only concerning the Messianic future; but concerning the future state of the soul it is said: 'Men have not heard nor perceived by the ear, neither hath the eye seen, O God beside Thee, what He hath prepared for him that waiteth for Him'" (Ber. 34b; comp. I Cor. ii. 9, Greek; Resh, "Agrapha," 1889, p. 154). "When man dies," says R. Mer, "three sets of angels go forth to welcome him" (Num. R. xii.); this can only refer to the disembodied soul.

Nevertheless, the prevailing rabbinical conception of the future world is that of the world of resurrection, not that of pure immortality. Resurrection became the dogma of Judaism, fixed in the Mishnah (Sanh. x. 1) and in the liturgy ("Elohai Neshamah" and "Shemoneh 'Esreh"), just as the Church knows only of a future based upon the resurrection; whereas immortality remained merely a philosophical assumption. When therefore Maimonides ("Yad," Teshubah, viii. 2) declared, with reference to Ber. 17a, quoted above, that the world to come is entirely spiritual, one in which the body and bodily enjoyments have no share, he met with strong opposition on the part of Abraham of Posquires, who pointed in his critical annotations ("Hassagot RABaD") to a number of Talmudical passages (Shab. 114a; Ket. 111a; Sanh. 91b) which leave no doubt as to the identification of the world to come ("'olam ha-ba") with that of the resurrection of the body.

The medieval Jewish philosophers without exception recognized the dogmatic character of the belief in resurrection, while on the other hand they insisted on the axiomatic character of the belief in immortality of the soul (see Albo, "'Iarim," iv. 35-41). Saadia made the dogma of the resurrectionpart of his speculation ("Emunot we-De'ot," vii. and ix.); Judah ha-Levi ("Cuzari," i. 109) accentuated more the spiritual nature of the future existence, the bliss of which consisted in the contemplation of God; whereas Maimonides, though he accepted the resurrection dogma in his Mishnah commentary (Sanh. xi.; comp. his monograph on the subject, "Ma'amar Teiyyat ha-Metim"), ignored it altogether in his code ("Yad," Teshubah, viii.); and in his "Moreh" (iii. 27, 51-52, 54; comp. "Yad," Yesode ha-Torah, iv. 9) he went so far as to assign immortality only to the thinkers, whose acquired intelligence ("sekel ha-nineh"), according to the Aristotelians, becomes part of the "active divine intelligence," and thus attains perfection and permanence. This Maimonidean view, which practically denies to the soul of man personality and substance and excludes the simple-minded doer of good from future existence, is strongly combated by asdai Crescas ("Or Adonai," ii. 5, 5; 6, 1) as contrary to Scripture and to common sense; he claims, instead, immortality for every soul filled with love for God, whose very essence is moral rather than intellectual, and consists in perfection and goodness rather than in knowledge (comp. also Gersonides, "Milamot ha-Shem," i. 13; Albo, "'Iarim," iv. 29). Owing to Crescas, and in opposition to Leibnitz's view that without future retribution there could be no morality and no justice in the world, Spinoza ("Ethics," v. 41) declared, "Virtue is eternal bliss; even if we should not be aware of the soul's immortality we must love virtue above everything."

While medieval philosophy dwelt on the intellectual, moral, or spiritual nature of the soul to prove its immortality, the cabalists endeavored to explain the soul as a light from heaven, after Prov. xx. 27, and immortality as a return to the celestial world of pure light (Baya b. Asher to Gen. i. 3; Zohar, Terumah, 127a). But the belief in the preexistence of the soul led the mystics to the adoption, with all its weird notions and superstitions, of the Pythagorean system of the transmigration of the soul (see Transmigration of Souls). Of this mystic view Manasseh ben Israel also was an exponent, as his "Nishmat ayyim" shows.

It was the merit of Moses Mendelssohn, the most prominent philosopher of the deistic school in an era of enlightenment and skepticism, to have revived by his "Phdon" the Platonic doctrine of immortality, and to have asserted the divine nature of man by presenting new arguments in behalf of the spiritual substance of the soul (see Kayserling, "Moses Mendelssohn," 1862, pp. 148-169). Thenceforth Judaism, and especially progressive or Reform Judaism, emphasized the doctrine of immortality, in both its religious instruction and its liturgy (see Catechisms; Conferences, Rabbinical), while the dogma of resurrection was gradually discarded and, in the Reform rituals, eliminated from the prayer-books. Immortality of the soul, instead of resurrection, was found to be "an integral part of the Jewish creed" and "the logical sequel to the God-idea," inasmuch as God's faithfulness "seemed to point, not to the fulfilment of the promise of resurrection" given to those that "sleep in the dust," as the second of the Eighteen Benedictions has it, but to "the realization of those higher expectations which are sown, as part of its very nature, in every human soul" (Morris Joseph, "Judaism as Creed and Life," 1903, pp. 91 et seq.). The Biblical statement "God created man in his own image" (Gen. i. 27) and the passage "May the soul . . . be bound in the bundle of life with the Lord thy God" (I Sam. xxv. 29, Hebr.), which, as a divine promise and a human supplication, filled the generations with comfort and hope (Zunz, "Z. G." p. 350), received a new meaning from this view of man's future; and the rabbinical saying, "The righteous rest not, either in this or in the future world, but go from strength to strength until they see God on Zion" (Ber. 64a. after Ps. lxxxiv. 8 [A. V.]), appeared to offer an endless vista to the hope of immortality.

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IMMORTALITY OF THE SOUL - JewishEncyclopedia.com

Immortality | Internet Encyclopedia of Philosophy

Immortality is the indefinite continuation of a persons existence, even after death. In common parlance, immortality is virtually indistinguishable from afterlife, but philosophically speaking, they are not identical. Afterlife is the continuation of existence after death, regardless of whether or not that continuation is indefinite. Immortality implies a never-ending existence, regardless of whether or not the body dies (as a matter of fact, some hypothetical medical technologies offer the prospect of a bodily immortality, but not an afterlife).

Immortality has been one of mankinds major concerns, and even though it has been traditionally mainly confined to religious traditions, it is also important to philosophy. Although a wide variety of cultures have believed in some sort of immortality, such beliefs may be reduced to basically three non-exclusive models: (1) the survival of the astral body resembling the physical body; (2) the immortality of the immaterial soul (that is an incorporeal existence); (3) resurrection of the body (or re-embodiment, in case the resurrected person does not keep the same body as at the moment of death). This article examines philosophical arguments for and against the prospect of immortality.

A substantial part of the discussion on immortality touches upon the fundamental question in the philosophy of mind: do souls exist? Dualists believe souls do exist and survive the death of the body; materialists believe mental activity is nothing but cerebral activity and thus death brings the total end of a persons existence. However, some immortalists believe that, even if immortal souls do not exist, immortality may still be achieved through resurrection.

Discussions on immortality are also intimately related to discussions of personal identity because any account of immortality must address how the dead person could be identical to the original person that once lived. Traditionally, philosophers have considered three main criteria for personal identity: the soul criterion , the body criterion and the psychological criterion.

Although empirical science has little to offer here, the field of parapsychology has attempted to offer empirical evidence in favor of an afterlife. More recently, secular futurists envision technologies that may suspend death indefinitely (such as Strategies for Engineered Negligible Senescence, and mind uploading), thus offering a prospect for a sort of bodily immortality.

Discourse on immortality bears a semantic difficulty concerning the word 'death. We usually define it in physiological terms as the cessation of biological functions that make life possible. But, if immortality is the continuation of life even after death, a contradiction appears to come up (Rosemberg, 1998). For apparently it makes no sense to say that someone has died and yet survived death. To be immortal is, precisely, not to suffer death. Thus, whoever dies, stops existing; nobody may exist after death, precisely because death means the end of existence.

For convenience, however, we may agree that death simply means the decomposition of the body, but not necessarily the end of a persons existence, as assumed in most dictionary definitions. In such a manner, a person may die in as much as their body no longer exists (or, to be more precise, no longer holds vital signs: pulse, brain activity, and so forth), but may continue to exist, either in an incorporeal state, with an ethereal body, or with some other physical body.

Some people may think of immortality in vague and general terms, such as the continuity of a persons deeds and memories among their friends and relatives. Thus, baseball player Babe Ruth is immortal in a very vague sense: he is well remembered among his fans. But, philosophically speaking, immortality implies the continuation of personal identity. Babe Ruth may be immortal in the sense that he is well remembered, but unless there is someone that may legitimately claim I am Babe Ruth, we shall presume Babe Ruth no longer exists and hence, is not immortal.

Despite the immense variety of beliefs on immortality, they may be reduced to three basic models: the survival of the astral body, the immaterial soul and resurrection (Flew, 2000). These models are not necessarily mutually exclusive; in fact, most religions have adhered to a combination of them.

Much primitive religious thought conceives that human beings are made up of two body substances: a physical body, susceptible of being touched, smelt, heard and seen; and an astral body made of some sort of mysterious ethereal substance. Unlike the physical body, the astral body has no solidity (it can go through walls, for example.) and hence, it cannot be touched, but it can be seen. Its appearance is similar to the physical body, except perhaps its color tonalities are lighter and its figure is fuzzier.

Upon death, the astral body detaches itself from the physical body, and mourns in some region within time and space. Thus, even if the physical body decomposes, the astral body survives. This is the type of immortality most commonly presented in films and literature (for example, Hamlets ghost). Traditionally, philosophers and theologians have not privileged this model of immortality, as there appears to be two insurmountable difficulties: 1) if the astral body does exist, it should be seen depart from the physical body at the moment of death; yet there is no evidence that accounts for it; 2) ghosts usually appear with clothes; this would imply that, not only are there astral bodies, but also astral clothes a claim simply too extravagant to be taken seriously (Edwards, 1997: 21).

The model of the immortality of the soul is similar to the astral body model, in as much as it considers that human beings are made up of two substances. But, unlike the astral body model, this model conceives that the substance that survives the death of the body is not a body of some other sort, but rather, an immaterial soul. In as much as the soul is immaterial, it has no extension, and thus, it cannot be perceived through the senses. A few philosophers, such as Henry James, have come to believe that for something to exist, it must occupy space (although not necessarily physical space), and hence, souls are located somewhere in space (Henry, 2007). Up until the twentieth century, the majority of philosophers believed that persons are souls, and that human beings are made up of two substances (soul and body). A good portion of philosophers believed that the body is mortal and the soul is immortal. Ever since Descartes in the seventeenth century, most philosophers have considered that the soul is identical to the mind, and, whenever a person dies, their mental contents survive in an incorporeal state.

Eastern religions (for example, Hinduism and Buddhism) and some ancient philosophers (for example, Pythagoras and Plato) believed that immortal souls abandon the body upon death, may exist temporarily in an incorporeal state, and may eventually adhere to a new body at the time of birth (in some traditions, at the time of fertilization). This is the doctrine of reincarnation.

Whereas most Greek philosophers believed that immortality implies solely the survival of the soul, the three great monotheistic religions (Judaism, Christianity and Islam) consider that immortality is achieved through the resurrection of the body at the time of the Final Judgment. The very same bodies that once constituted persons shall rise again, in order to be judged by God. None of these great faiths has a definite position on the existence of an immortal soul. Therefore, traditionally, Jews, Christians and Muslims have believed that, at the time of death, the soul detaches from the body and continues on to exist in an intermediate incorporeal state until the moment of resurrection. Some others, however, believe that there is no intermediate state: with death, the person ceases to exist, and in a sense, resumes existence at the time of resurrection.

As we shall see, some philosophers and theologians have postulated the possibility that, upon resurrection, persons do not rise with the very same bodies with which they once lived (rather, resurrected persons would be constituted by a replica). This version of the doctrine of the resurrection would be better referred to as re-embodiment: the person dies, but, as it were, is re-embodied.

Most religions adhere to the belief in immortality on the basis of faith. In other words, they provide no proof of the survival of the person after the death of the body; actually, their belief in immortality appeals to some sort of divine revelation that, allegedly, does not require rationalization.

Natural theology, however, attempts to provide rational proofs of Gods existence. Some philosophers have argued that, if we can rationally prove that God exists, then we may infer that we are immortal. For, God, being omnibenevolent, cares about us, and thus would not allow the annihilation of our existence; and being just, would bring about a Final Judgement (Swinburne, 1997). Thus, the traditional arguments in favor of the existence of God (ontological, cosmological, teleological) would indirectly prove our immortality. However, these traditional arguments have been notoriously criticized, and some arguments against the existence of God have also been raised (such as the problem of evil) (Martin, 1992; Smith, 1999).

Nevertheless, some philosophers have indeed tried to rationalize the doctrine of immortality, and have come up with a few pragmatic arguments in its favor.

Blaise Pascal proposed a famous argument in favor of the belief in the existence of God, but it may well be extended to the belief in immortality (Pascal, 2005). The so-called Pascals Wager argument goes roughly as follows: if we are to decide to believe whether God exists or not, it is wiser to believe that God does exist. If we rightly believe that God exists, , we gain eternal bliss; if God does not exist, we lose nothing, in as much as there is no Final Judgment to account for our error. On the other hand, if we rightly believe God does not exist, we gain nothing, in as much as there is no Final Judgment to reward our belief. But, if we wrongly believe that God does not exist, we lose eternal bliss, and are therefore damned to everlasting Hell. By a calculation of risks and benefits, we should conclude that it is better to believe in Gods existence. This argument is easily extensible to the belief in immortality: it is better to believe that there is a life after death, because if in fact there is a life after death, we shall be rewarded for our faith, and yet lose nothing if we are wrong; on the other hand, if we do not believe in a life after death, and we are wrong, we will be punished by God, and if we are right, there will not be a Final Judgment to reward our belief.

Although this argument has remained popular among some believers, philosophers have identified too many problems in it (Martin, 1992). Pascals Wager does not take into account the risk of believing in a false god (What if Baal were the real God, instead of the Christian God?), or the risk of believing in the wrong model of immortality (what if God rewarded belief in reincarnation, and punished belief in resurrection?). The argument also assumes that we are able to choose our beliefs, something most philosophers think very doubtful.

Other philosophers have appealed to other pragmatic benefits of the belief in immortality. Immanuel Kant famously rejected in his Critique of Pure Reason the traditional arguments in favor of the existence of God; but in his Critique of Practical Reason he put forth a so-called moral argument. The argument goes roughly as follows: belief in God and immortality is a prerequisite for moral action; if people do not believe there is a Final Judgment administered by God to account for deeds, there will be no motivation to be good. In Kants opinion, human beings seek happiness. But in order for happiness to coincide with moral action, the belief in an afterlife is necessary, because moral action does not guarantee happiness. Thus, the only way that a person may be moral and yet preserve happiness, is by believing that there will be an afterlife justice that will square morality with happiness. Perhaps Kants argument is more eloquently expressed in Ivan Karamazovs (a character from Dostoevskys The Brothers Karamazov) famous phrase: If there is no God, then everything is permitted... if there is no immortality, there is no virtue.

The so-called moral argument has been subject to some criticism. Many philosophers have argued that it is indeed possible to construe secular ethics, where appeal to God is unnecessary to justify morality. The question why be moral? may be answered by appealing to morality itself, to the need for cooperation, or simply, to ones own pleasure (Singer, 1995; Martin, 1992). A vigilant God does not seem to be a prime need in order for man to be good. If these philosophers are right, the lack of belief in immortality would not bring about the collapse of morality. Some contemporary philosophers, however, align with Kant and believe that secular morality is shallow, as it does not satisfactorily account for acts of sacrifice that go against self-interest; in their view, the only way to account for such acts is by appealing to a Divine Judge (Mavrodes, 1995).

Yet another pragmatic argument in favor of the belief in immortality appeals to the need to find meaning in life. Perhaps Miguel de Unamunos Del sentimiento trgico de la vida is the most emblematic philosophical treatise advocating this argument: in Unamunos opinion, belief in immortality is irrational, but nevertheless necessary to avoid desperation in the face of lifes absurdity. Only by believing that our lives will have an ever-lasting effect, do we find motivation to continue to live. If, on the contrary, we believe that everything will ultimately come to an end and nothing will survive, it becomes pointless to carry on any activity.

Of course, not all philosophers would agree. Some philosophers would argue that, on the contrary, the awareness that life is temporal and finite makes living more meaningful, in as much as we better appreciate opportunities (Heidegger, 1978). Bernard Williams has argued that, should life continue indefinitely, it would be terribly boring, and therefore, pointless (Williams, 1976). Some philosophers, however, counter that some activities may be endlessly repeated without ever becoming boring; furthermore, a good God would ensure that we never become bored in Heaven (Fischer, 2009).

Death strikes fear and anguish in many of us, and some philosophers argue that the belief in immortality is a much needed resource to cope with that fear. But, Epicurus famously argued that it is not rational to fear death, for two main reasons: 1) in as much as death is the extinction of consciousness, we are not aware of our condition (if death is, I am not; if I am, death is not); 2) in the same manner that we do not worry about the time that has passed before we were born, we should not worry about the time that will pass after we die (Rist, 1972).

At any rate, pragmatic arguments in favor of the belief in immortality are also critiqued on the grounds that the pragmatic benefits of a belief bear no implications on its truth. In other words, the fact that a belief is beneficial does not make it true. In the analytic tradition, philosophers have long argued for and against the pragmatic theory of truth, and depending on how this theory is valued, it will offer a greater or lesser plausibility to the arguments presented above.

Plato was the first philosopher to argue, not merely in favor of the convenience of accepting the belief in immortality, but for the truth of the belief itself. His Phaedo is a dramatic representation of Socrates final discussion with his disciples, just before drinking the hemlock. Socrates shows no sign of fear or concern, for he is certain that he will survive the death of his body. He presents three main arguments to support his position, and some of these arguments are still in use today.

First, Socrates appeals to cycles and opposites. He believes that everything has an opposite that is implied by it. And, as in cycles, things not only come from opposites, but also go towards opposites. Thus, when something is hot, it was previously cold; or when we are awake, we were previously asleep; but when we are asleep, we shall be awake once again. In the same manner, life and death are opposites in a cycle. Being alive is opposite to being dead. And, in as much as death comes from life, life must come from death. We come from death, and we go towards death. But, again, in as much as death comes from life, it will also go towards life. Thus, we had a life before being born, and we shall have a life after we die.

Most philosophers have not been persuaded by this argument. It is very doubtful that everything has an opposite (What is the opposite of a computer?) And, even if everything had an opposite, it is doubtful that everything comes from its opposite, or even that everything goes towards its opposite.

Socrates also appeals to the theory of reminiscence, the view that learning is really a process of remembering knowledge from past lives. The soul must already exist before the birth of the body, because we seem to know things that were not available to us. Consider the knowledge of equality. If we compare two sticks and we realize they are not equal, we form a judgment on the basis of a previous knowledge of equality as a form. That knowledge must come from previous lives. Therefore, this is an argument in favor of the transmigration of souls (that is, reincarnation or metempsychosis).

Some philosophers would dispute the existence of the Platonic forms, upon which this argument rests. And, the existence of innate ideas does not require the appeal to previous lives. Perhaps we are hard-wired by our brains to believe certain things; thus, we may know things that were not available to us previously.

Yet another of Socrates arguments appeals to the affinity between the soul and the forms. In Platos understanding, forms are perfect, immaterial and eternal. And, in as much as the forms are intelligible, but not sensible, only the soul can apprehend them. In order to apprehend something, the thing apprehending must have the same nature as the thing apprehended. The soul, then, shares the attributes of the forms: it is immaterial and eternal, and hence, immortal.

Again, the existence of the Platonic forms should not be taken for granted, and for this reason, this is not a compelling argument. Furthermore, it is doubtful that the thing apprehending must have the same nature as the thing apprehended: a criminologist need not be a criminal in order to apprehend the nature of crime.

Platos arguments take for granted that souls exist; he only attempts to prove that they are immortal. But, a major area of discussion in the philosophy of mind is the existence of the soul. One of the doctrines that hold that the soul does exist is called dualism; its name comes from the fact that it postulates that human beings are made up of two substances: body and soul. Arguments in favor of dualism are indirectly arguments in favor of immortality, or at least in favor of the possibility of survival of death. For, if the soul exists, it is an immaterial substance. And, in as much as it is an immaterial substance, it is not subject to the decomposition of material things; hence, it is immortal.

Most dualists agree that the soul is identical to the mind, yet different from the brain or its functions. Some dualists believe the mind may be some sort of emergent property of the brain: it depends on the brain, but it is not identical to the brain or its processes. This position is often labeled property dualism, but here we are concerned with substance dualism, that is, the doctrine that holds that the mind is a separate substance (and not merely a separate property) from the body, and therefore, may survive the death of the body (Swinburne, 1997).

Ren Descartes is usually considered the father of dualism, as he presents some very ingenuous arguments in favor of the existence of the soul as a separate substance (Descartes, 1980). In perhaps his most celebrated argument, Descartes invites a thought experiment: imagine you exist, but not your body. You wake up in the morning, but as you approach the mirror, you do not see yourself there. You try to reach your face with your hand, but it is thin air. You try to scream, but no sound comes out. And so on.

Now, Descartes believes that it is indeed possible to imagine such a scenario. But, if one can imagine the existence of a person without the existence of the body, then persons are not constituted by their bodies, and hence, mind and body are two different substances. If the mind were identical to the body, it would be impossible to imagine the existence of the mind without imagining at the same time the existence of the body.

This argument has been subject to much scrutiny. Dualists certainly believe it is a valid one, but it is not without its critics. Descartes seems to assume that everything that is imaginable is possible. Indeed, many philosophers have long agreed that imagination is a good guide as to what is possible (Hume, 2010). But, this criterion is disputed. Imagination seems to be a psychological process, and thus not strictly a logical process. Therefore, perhaps we can imagine scenarios that are not really possible. Consider the Barber Paradox. At first, it seems possible that, in a town, a man shaves only those persons that shave themselves. We may perhaps imagine such a situation, but logically there cannot be such a situation, as Bertrand Russell showed. The lesson to be learned is that imagination might not be a good guide to possibility. And, although Descartes appears to have no trouble imagining an incorporeal mind, such a scenario might not be possible. However, dualists may argue that there is no neat difference between a psychological and a logical process, as logic seems to be itself a psychological process.

Descartes presents another argument. As Leibniz would later formalize in the Principle of Identity of Indiscernibles, two entities can be considered identical, if and only if, they exhaustively share the same attributes. Descartes exploits this principle, and attempts to find a property of the mind not shared by the body (or vice versa), in order to argue that they are not identical, and hence, are separate substances.

Descartes states: There is a great difference between a mind and a body, because the body, by its very nature, is something divisible, whereas the mind is plainly indivisible. . . insofar as I am only a thing that thinks, I cannot distinguish any parts in me. . . . Although the whole mind seems to be united to the whole body, nevertheless, were a foot or an arm or any other bodily part amputated, I know that nothing would be taken away from the mind (Descartes, 1980: 97).

Descartes believed, then, that mind and body cannot be the same substance. Descartes put forth another similar argument: the body has extension in space, and as such, it can be attributed physical properties. We may ask, for instance, what the weight of a hand is, or what the longitude of a leg is. But the mind has no extension, and therefore, it has no physical properties. It makes no sense to ask what the color of the desire to eat strawberries is, or what the weight of Communist ideology is. If the body has extension, and the mind has no extension, then the mind can be considered a separate substance.

Yet another of Descartes arguments appeals to some difference between mind and body. Descartes famously contemplated the possibility that an evil demon might be deceiving him about the world. Perhaps the world is not real. In as much as that possibility exists, Descartes believed that one may be doubt the existence of ones own body. But, Descartes argued that one cannot doubt the existence of ones own mind. For, if one doubts, one is thinking; and if one thinks, then it can be taken for certain that ones mind exists. Hence Descartes famous phrase: cogito ergo sum, I think, therefore, I exist. Now, if one may doubt the existence of ones body, but cannot doubt the existence of ones mind, then mind and body are different substances. For, again, they do not share exhaustively the same attributes.

These arguments are not without critics. Indeed, Leibnizs Principle of Indiscernibles would lead us to think that, in as much as mind and body do not exhaustively share the same properties, they cannot be the same substance. But, in some contexts, it seems possible that A and B may be identical, even if that does not imply that everything predicated of A can be predicated of B.

Consider, for example, a masked man that robs a bank. If we were to ask a witness whether or not the masked man robbed the bank, the witness will answer yes!. But, if we were to ask the witness whether his father robbed the bank, he may answer no. That, however, does not imply that the witness father is not the bank robber: perhaps the masked man was the witness father, and the witness was not aware of it. This is the so-called Masked Man Fallacy.

This case forces us to reconsider Leibnizs Law: A is identical to B, not if everything predicated of A is predicated of B, but rather, when A and B share exhaustively the same properties. And, what people believe about substances are not properties. To be an object of doubt is not, strictly speaking, a property, but rather, an intentional relation. And, in our case, to be able to doubt the bodys existence, but not the minds existence, does not imply that mind and body are not the same substance.

In more recent times, Descartes strategy has been used by other dualist philosophers to account for the difference between mind and body. Some philosophers argue that the mind is private, whereas the body is not. Any person may know the state of my body, but no person, including even possibly myself, can truly know the state of my mind.

Some philosophers point intentionality as another difference between mind and body. The mind has intentionality, whereas the body does not. Thoughts are about something, whereas body parts are not. In as much as thoughts have intentionality, they may also have truth values. Not all thoughts, of course, are true or false, but at least those thoughts that pretend to represent the world, may be. On the other hand, physical states do not have truth values: neurons activating in the brain are neither true, nor false.

Again, these arguments exploit the differences between mind and body. But, very much as with Descartes arguments, it is not absolutely clear that they avoid the Masked Man Fallacy.

Opponents of dualism not only reject their arguments; they also highlight conceptual and empirical problems with this doctrine. Most opponents of dualism are materialists: they believe that mental stuff is really identical to the brain, or at the most, an epiphenomenon of the brain. Materialism limits the prospects for immortality: if the mind is not a separate substance from the brain, then at the time of the brains death, the mind also becomes extinct, and hence, the person does not survive death. Materialism need not undermine all expectations of immortality (see resurrection below), but it does undermine the immortality of the soul.

The main difficulty with dualism is the so-called interaction problem. If the mind is an immaterial substance, how can it interact with material substances? The desire to move my hand allegedly moves my hand, but how exactly does that occur? There seems to be an inconsistency with the minds immateriality: some of the time, the mind is immaterial and is not affected by material states, at other times, the mind manages to be in contact with the body and cause its movement. Daniel Dennett has ridiculed this inconsistency by appealing to the comic-strip character Casper. This friendly ghost is immaterial because he is able to go through walls. But, all of a sudden, he is also able to catch a ball. The same inconsistency appears with dualism: in its interaction with the body, sometimes the mind does not interact with the body, sometimes it does (Dennett, 1992).Dualists have offered some solutions to this problem. Occasionalists hold that God directly causes material events. Thus, mind and body never interact. Likewise, parallelists hold that mental and physical events are coordinated by God so that they appear to cause each other, but in fact, they do not. These alternatives are in fact rejected by most contemporary philosophers.

Some dualists, however, may reply that the fact that we cannot fully explain how body and soul interact, does not imply that interaction does not take place. We know many things happen in the universe, although we do not know how they happen. Richard Swinburne, for instance, argues as follows: That bodily events cause brain events and that these cause pains, images, and beliefs (where their subjects have privileged access to the latter and not the former), is one of the most obvious phenomena of human experience. If we cannot explain how that occurs, we should not try to pretend that it does not occur. We should just acknowledge that human beings are not omniscient, and cannot understand everything (Swinburne, 1997, xii).

On the other hand, Dualism postulates the existence of an incorporeal mind, but it is not clear that this is a coherent concept. In the opinion of most dualists, the incorporeal mind does perceive. But, it is not clear how the mind can perceive without sensory organs. Descartes seemed to have no problems in imagining an incorporeal existence, in his thought experiment. However, John Hospers, for instance, believes that such a scenario is simply not imaginable:

You see with eyes? No, you have no eyes, since you have no body. But let that pass for a moment; you have experiences similar to what you would have if you had eyes to see with. But how can you look toward the foot of the bed or toward the mirror? Isnt looking an activity that requires having a body? How can you look in one direction or another if you have no head to turn? And this isnt all; we said that you cant touch your body because there is no body there; how did you discover this?... Your body seems to be involved in every activity we try to describe even though we have tried to imagine existing without it. (Hospers, 1997: 280)

Furthermore, even if an incorporeal existence were in fact possible, it could be terribly lonely. For, without a body, could it be possible to communicate with other minds. In Paul Edwards words: so far from living on in paradise, a person deprived of his body and thus of all sense organs would, quite aside from many other gruesome deprivations, be in a state of desolate loneliness and eventually come to prefer annihilation. (Edwards, 1997:48). However, consider that, even in the absence of a body, great pleasures may be attained. We may live in a situation the material world is an illusion (in fact, idealists inspired in Berkley lean towards such a position), and yet, enjoy existence. For, even without a body, we may enjoy sensual pleasures that, although not real, certainly feel real. However, the problems with dualism do not end there. If souls are immaterial and have no spatial extension, how can they be separate from other souls? Separation implies extension. Yet, if the soul has no extension, it is not at all clear how one soul can be distinguished from another. Perhaps souls can be distinguished based on their contents, but then again, how could we distinguish two souls with exactly the same contents? Some contemporary dualists have responded thus: in as much as souls interact with bodies, they have a spatial relationships to bodies, and in a sense, can be individuated.

Perhaps the most serious objection to dualism, and a substantial argument in favor of materialism, is the minds correlation with the brain. Recent developments in neuroscience increasingly confirm that mental states depend upon brain states. Neurologists have been able to identify certain regions of the brain associated with specific mental dispositions. And, in as much as there appears to be a strong correlation between mind and brain, it seems that the mind may be reducible to the brain, and would therefore not be a separate substance.

In the last recent decades, neuroscience has accumulated data that confirm that cerebral damage has a great influence on the mental constitution of persons. Phineas Gages case is well-known in this respect: Gage had been a responsible and kind railroad worker, but had an accident that resulted in damage to the frontal lobes of his brain. Ever since, Gage turned into an aggressive, irresponsible person, unrecognizable by his peers (Damasio, 2006).

Departing from Gages case, scientists have inferred that frontal regions of the brain strongly determine personality. And, if mental contents can be severely damaged by brain injuries, it does not seem right to postulate that the mind is an immaterial substance. If, as dualism postulates, Gage had an immortal immaterial soul, why didnt his soul remain intact after his brain injury?

A similar difficulty arises when we consider degenerative neurological diseases, such as Alzheimers disease. As it is widely known, this disease progressively eradicates the mental contents of patients, until patients lose memory almost completely. If most memories eventually disappear, what remains of the soul? When a patient afflicted with Alzheimer dies, what is it that survives, if precisely, most of his memories have already been lost? Of course, correlation is not identity, and the fact that the brain is empirically correlated with the mind does not imply that the mind is the brain. But, many contemporary philosophers of mind adhere to the so-called identity theory: mental states are the exact same thing as the firing of specific neurons.

Dualists may respond by claiming that the brain is solely an instrument of the soul. If the brain does not work properly, the soul will not work properly, but brain damage does not imply a degeneration of the soul. Consider, for example, a violinist. If the violin does not play accurately, the violinist will not perform well. But, that does not imply that the violinist has lost their talent. In the same manner, a person may have a deficient brain, and yet, retain her soul intact. However, Occams Razor requires the more parsimonious alternative: in which case, unless there is any compelling evidence in its favor, there is no need to assume the existence of a soul that uses the brain as its instrument.

Dualists may also suggest that the mind is not identical to the soul. In fact, whereas many philosophers tend to consider the soul and mind identical, various religions consider that a person is actually made up of by three substances: body, mind and soul. In such a view, even if the mind degenerates, the soul remains. However, it would be far from clear what the soul exactly could be, if it is not identical to the mind.

Any philosophical discussion on immortality touches upon a fundamental issue concerning personspersonal identity. If we hope to survive death, we would want to be sure that the person that continues to exist after death is the same person that existed before death. And, for religions that postulate a Final Judgment, this is a crucial matter: if God wants to apply justice, the person rewarded or punished in the afterlife must be the very same person whose deeds determine the outcome.

The question of personal identity refers to the criterion upon which a person remains the same (that is, numerical identity) throughout time. Traditionally, philosophers have discussed three main criteria: soul, body and psychological continuity.

According to the soul criterion for personal identity, persons remains the same throughout time, if and only if, they retain their soul (Swinburne, 2004). Philosophers who adhere to this criterion usually do not think the soul is identical to the mind. The soul criterion is favored by very few philosophers, as it faces a huge difficulty: if the soul is an immaterial non-apprehensible substance (precisely, in as much as it is not identical to the mind), how can we be sure that a person continues to be the same? We simply do not know if, in the middle of the night, our neighbors soul has transferred into another body. Even if our neighbors body and mental contents remain the same, we can never know if his soul is the same. Under this criterion, it appears that there is simply no way to make sure someone is always the same person.

However, there is a considerable argument in favor of the soul criterion. To pursue such an argument, Richard Swinburne proposes the following thought experiment: suppose Johns brain is successfully split in two, and as a result, we get two persons; one with the left hemisphere of Johns brain, the other with the right hemisphere. Now, which one is John? Both have a part of Johns brain, and both conserve part of Johns mental contents. So, one of them must presumably be John, but which one? Unlike the body and the mind, the soul is neither divisible nor duplicable. Thus, although we do not know which would be John, we do know that only one of the two persons is John. And it would be the person that preserves Johns souls, even if we have no way of identifying it. In such a manner, although we know about Johns body and mind, we are not able to discern who is John; therefore, Johns identity is not his mind or his body, but rather, his soul (Swinburne, 2010: 68).

Common sense informs that persons are their bodies (in fact, that is how we recognize people ) but, although many philosophers would dispute this, ordinary people seem generally to adhere to such a view). Thus, under this criterion, a person continues to be the same, if, and only if, they conserve the same body. Of course, the body alters, and eventually, all of its cells are replaced. This evokes the ancient philosophical riddle known as the Ship of Theseus: the planks of Theseus ship were gradually replaced, until none of the originals remained. Is it still the same ship? There has been much discussion on this, but most philosophers agree that, in the case of the human body, the total replacement of atoms and the slight alteration of form do not alter the numerical identity of the human body.

However, the body criterion soon runs into difficulties. Imagine two patients, Brown and Robinson, who undergo surgery simultaneously. Accidentally, their brains are swapped in placed in the wrong body. Thus, Browns brain is placed in Robinsons body. Let us call this person Brownson. Naturally, in as much as he has Browns brain, he will have Browns memories, mental contents, and so forth. Now, who is Brownson? Is he Robinson with Browns brain; or is he Brown with Robinsons body? Most people would think the latter (Shoemaker, 2003). After all, the brain is the seat of consciousness.

Thus, it would appear that the body criterion must give way to the brain criterion: a person continues to be the same, if and only if, she conserves the same brain. But, again, we run into difficulties. What if the brain undergoes fission, and each half is placed in a new body? (Parfit, 1984). As a result, we would have two persons pretending to be the original person, but, because of the principle of transitivity, we know that both of them cannot be the original person. And, it seems arbitrary that one of them should be the original person, and not the other (although, as we have seen, Swinburne bites the bullet, and considers that, indeed, only one would be the original person). This difficulty invites the consideration of other criteria for personal identity.

John Locke famously asked what we would think if a prince one day woke up in a cobblers body, and the cobbler in a princes body (Locke, 2009). Although the cobblers peers would recognize him as the cobbler, he would have the memories of the prince. Now, if before that event, the prince committed a crime, who should be punished? Should it be the man in the palace, who remembers being a cobbler; or should it be the man in the workshop, who remembers being a prince, including his memory of the crime?

It seems that the man in the workshop should be punished for the princes crime, because, even if that is not the princes original body, that person is the prince, in as much as he conserves his memories. Locke, therefore, believed that a person continues to be the same, if and only if, she conserves psychological continuity.

Although it appears to be an improvement with regards to the previous two criteria, the psychological criterion also faces some problems. Suppose someone claims today to be Guy Fawkes, and conserves intact very vividly and accurately the memories of the seventeenth century conspirator (Williams, 1976). By the psychological criterion, such a person would indeed be Guy Fawkes. But, what if, simultaneously, another person also claims to be Guy Fawkes, even with the same degree of accuracy? Obviously, both persons cannot be Guy Fawkes. Again, it would seem arbitrary to conclude that one person is Guy Fawkes, yet the other person isnt. It seems more plausible that neither person is Guy Fawkes, and therefore, that psychological continuity is not a good criterion for personal identity.

In virtue of the difficulties with the above criteria, some philosophers have argued that, in a sense, persons do not exist. Or, to be more precise, the self does not endure changes. In David Humes words, a person is nothing but a bundle or collection of different perceptions, which succeed each other with an inconceivable rapidity, and are in a perpetual flux and movement (Hume, 2010: 178). This is the so-called bundle theory of the self.

As a corollary, Derek Parfit argues that, when considering survival, personal identity is not what truly matters (Parfit, 1984). What does matter is psychological continuity. Parfit asks us to consider this example.

Suppose that you enter a cubicle in which, when you press a button, a scanner records the states of all the cells in your brain and body, destroying both while doing so. This information is then transmitted at the speed of light to some other planet, where a replicator produces a perfect organic copy of you. Since the brain of your replica is exactly like yours, it will seem to remember living your life up to the moment when you pressed the button, its character will be just like yours, it will be every other way psychologically continuous with you. (Parfit, 1997: 311)

Now, under the psychological criterion, such a replica will in fact be you. But, what if the machine does not destroy the original body, or makes more than one replica? In such a case, there will be two persons claiming to be you. As we have seen, this is a major problem for the psychological criterion. But, Parfit argues that, even if the person replicated is not the same person that entered the cubicle, it is psychologically continuous. And, that is what is indeed relevant.

Parfits position has an important implication for discussions of immortality. According to this view, a person in the afterlife is not the same person that lived before. But, that should not concern us. We should be concerned about the prospect that, in the afterlife, there will at least be one person that is psychologically continuous with us.

As we have seen, the doctrine of resurrection postulates that on Judgment Day the bodies of every person who ever lived shall rise again, in order to be judged by God. Unlike the doctrine of the immortality of the soul, the doctrine of resurrection has not been traditionally defended with philosophical arguments. Most of its adherents accept it on the basis of faith. Some Christians, however, consider that the resurrection of Jesus can be historically demonstrated (Habermas, 2002; Craig, 2008). And, so the argument goes, if it can be proven that God resurrected Jesus from the dead, then we can expect that God will do the same with every human being who has ever lived.

Nevertheless, the doctrine of resurrection runs into some philosophical problems derived from considerations on personal identity; that is, how is the person resurrected identical to the person that once lived? If we were to accept dualism and the soul criterion for personal identity, then there is not much of a problem: upon the moment of death, soul and body split, the soul remains incorporeal until the moment of resurrection, and the soul becomes attached to the new resurrected body. In as much as a person is the same, if and only if, she conserves the same soul, then we may legitimately claim that the resurrected person is identical to the person that once lived.

But, if we reject dualism, or the soul criterion for personal identity, then we must face some difficulties. According to the most popular one conception of resurrection, we shall be raised with the same bodies with which we once lived. Suppose that the resurrected body is in fact made of the very same cells that made up the original body, and also, the resurrected body has the same form as the original body. Are they identical?

Peter Van Inwagen thinks not (Van Inwagen, 1997). If, for example, an original manuscript written by Augustine is destroyed, and then, God miraculously recreates a manuscript with the same atoms that made up Augustines original manuscript, we should not consider it the very same manuscript. It seems that, between Augustines original manuscript, and the manuscript recreated by God, there is no spatio-temporal continuity. And, if such continuity is lacking, then we cannot legitimately claim that the recreated object is the same original object. For the same reason, it appears that the resurrected body cannot be identical to the original body. At most, the resurrected body would be a replica.

However, our intuitions are not absolutely clear. Consider, for example, the following case: a bicycle is exhibited in a store, and a customer buys it. In order to take it home, the customer dismantles the bicycle, puts its pieces in a box, takes it home, and once there, reassembles the pieces. Is it the same bicycle? It certainly seems so, even if there is no spatio-temporal continuity.

Nevertheless, there is room to doubt that the resurrected body would be made up of the original bodys same atoms. We know that matter recycles itself, and that due to metabolism, the atoms that once constituted the human body of a person may later constitute the body of another person. How could God resurrect bodies that shared the same atoms? Consider the case of cannibalism, as ridiculed by Voltaire:

A soldier from Brittany goes into Canada; there, by a very common chance, he finds himself short of food, and is forced to eat an Iroquis whom he killed the day before. The Iroquis had fed on Jesuits for two or three months; a great part of his body had become Jesuit. Here, then, the body of a soldier is composed of Iroquis, of Jesuits, and of all that he had eaten before. How is each to take again precisely what belongs to him? And which part belongs to each? (Voltaire, 1997: 147)

However, perhaps, in the resurrection, God neednt resurrect the body. If we accept the body criterion for personal identity, then, indeed, the resurrected body must be the same original body. But, if we accept the psychological criterion, perhaps God only needs to recreate a person psychologically continuous with the original person, regardless of whether or not that person has the same body. John Hick believes this is how God could indeed proceed (Hick, 1994).

Hick invites a thought experiment. Suppose a man disappears in London, and suddenly someone with his same looks and personality appears in New York. It seems reasonable to consider that the person that disappeared in London is the same person that appeared in New York. Now, suppose that a man dies in London, and suddenly appears in New York with the same looks and personality. Hick believes that, even if the cadaver is in London, we would be justified to claim that the person that appears in New York is the same person that died in London. Hicks implication is that body continuity is not needed for personal identity; only psychologically continuity is necessary.

And, Hick considers that, in the same manner, if a person dies, and someone in the resurrection world appears with the same character traits, memories, and so forth, then we should conclude that such a person in the resurrected world is identical to the person who previously died. Hick admits the resurrected body would be a replica, but as long as the resurrected is psychologically continuous with the original person, then it is identical to the original person.

Yet, in as much as Hicks model depends upon a psychological criterion for personal identity, it runs into the same problems that we have reviewed when considering the psychological criterion. It seems doubtful that a replica would be identical to the original person, because more than one replica could be recreated. And, if there is more than one replica, then they would all claim to be the original person, but obviously, they cannot all be the original person. Hick postulates that we can trust that God would only recreate exactly one replica, but it is not clear how that would solve the problem. For, the mere possibility that God could make more than one replica is enough to conclude that a replica would not be the original person.

Peter Van Inwagen has offered a somewhat extravagant solution to these problems: Perhaps at the moment of each mans death, God removes his corpse and replaces it with a simulacrum which is what is burned or rots. Or perhaps God is not quite so wholesale as this: perhaps He removes for safekeeping only the core person the brain and central nervous system or even some special part of it (Van Inwagen, 1997: 246). This would seem to solve the problem of spatio-temporal continuity. The body would never cease to exist, it would only be stored somewhere else until the moment of resurrection, and therefore, it would conserve spatio-temporal continuity. However, such an alternative seems to presuppose a deceitful God (He would make us believe the corpse that rots is the original one, when in fact, it is not), and would thus contradict the divine attribute of benevolence (a good God would not lie), a major tenet of monotheistic religions that defend the doctrine of resurrection.

Some Christian philosophers are aware of all these difficulties, and have sought a more radical solution: there is no criterion for personal identity over time. Such a view is not far from the bundle theory, in the sense that it is difficult to precise how a person remains the same over time. This position is known as anti-criterialism, that is, there is no intelligible criterion for personal identity; Trenton Merricks (1998) is its foremost proponent. By doing away with criteria for personal identity, anti-criterialists purport to show that objections to resurrection based on difficulties of personal identity have little weight, precisely because we should not be concerned about criteria for personal identity.

The discipline of parapsychology purports to prove that there is scientific evidence for the afterlife; or at least, that there is scientific evidence for the existence of paranormal abilities that would imply that the mind is not a material substance. Originally founded by J.B.S. Rhine in the 1950s, parapsychology has fallen out of favor among contemporary neuroscientists, although some universities still support parapsychology departments.

Parapsychologists usually claim there is a good deal of evidence in favor of the doctrine of reincarnation. Two pieces of alleged evidence are especially meaningful: (1) past-life regressions; (2) cases of children who apparently remember past lives.

Under hypnosis, some patients frequently have regressions and remember events from their childhood. But, some patients have gone even further and, allegedly, have vivid memories of past lives. A few parapsychologists take these as so-called past-life regressions as evidence for reincarnation (Sclotterbeck, 2003).

However, past-life regressions may be cases of cryptomnesia, that is, hidden memories. A person may have a memory, and yet not recognize it as such. A well-known case is illustrative: an American woman in the 1950s was hypnotized, and claimed to be Bridey Murphy, an Irishwoman of the 19th century. Under hypnosis, the woman offered a fairly good description of 19th century Ireland, although she had never been in Ireland. However, it was later discovered that, as a child, she had an Irish neighbor. Most likely, she had hidden memories of that neighbor, and under hypnosis, assumed the personality of a 20th century Irish woman.

It must also be kept in mind that hypnosis is a state of high suggestibility. The person that conducts the hypnosis may easily induce false memories on the person hypnotized; hence, alleged memories that come up in hypnosis are not trustworthy at all.

Some children have claimed to remember past lives. Parapsychologist Ian Stevenson collected more than a thousand of such cases (Stevenson, 2001). And, in a good portion of those cases, children know things about the deceased person that, allegedly, they could not have known otherwise.

However, Stevensons work has been severely critiqued for its methodological flaws. In most cases, the childs family had already made contact with the deceaseds family before Stevensons arrival; thus, the child could pick up information and give the impression that he knows more than what he could have known. Paul Edwards has also accused Stevenson of asking leading questions towards his own preconceptions (Edwards, 1997: 14).

Moreover, reincarnation runs into conceptual problems of its own. If you do not remember past lives, then it seems that you cannot legitimately claim that you are the same person whose life you do not remember. However, a few philosophers claim this is not a good objection at all, as you do not remember being a very young child, and yet can still surely claim to be the same person as that child (Ducasse, 1997: 199).

Population growth also seems to be a problem for reincarnation: according to defenders of reincarnation, souls migrate from one body to another. This, in a sense, presupposes that the number of souls remains stable, as no new souls are created, they only migrate from body to body. Yet, the number of bodies has consistently increased ever since the dawn of mankind. Where, one may ask, were all souls before new bodies came to exist? (Edwards, 1997: 14). Actually, this objection is not so formidable: perhaps souls exist in a disembodied form as they wait for new bodies to come up (DSouza, 2009: 57).

During the heyday of Spiritualism (the religious movement that sought to make contact with the dead), some mediums gained prominence for their reputed abilities to contact the dead. These mediums were of two kinds: physical mediums invoked spirits that, allegedly, produced physical phenomena (for example, lifting tables); and mental mediums whose bodies, allegedly, were temporarily possessed by the spirits.

Most physical mediums were exposed as frauds by trained magicians. Mental mediums, however, presented more of a challenge for skeptics. During their alleged possession by a deceased persons spirit, mediums would provide information about the deceased person that, apparently, could not have possibly known. William James was impressed by one such medium, Leonora Piper, and although he remained somewhat skeptical, he finally endorsed the view that Piper in fact made contact with the dead.

Some parapsychologists credit the legitimacy of mental mediumship (Almeder, 1992). However, most scholars believe that mental mediums work through the technique of cold reading: they ask friends and relatives of a deceased person questions at a fast pace, and infer from their body language and other indicators, information about the deceased person (Gardner, 2003).

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Immortality | Internet Encyclopedia of Philosophy

Philadelphia Eagles and football immortality: A match made …

The Philadelphia Eagles are hoping to parlay Hall of Fame inductions with their first Super Bowl win.

Philadelphia Eagles safety Brian Dawkins is going to the Pro Football Hall of Fame. He will be joined by former Eagles wide receiver Terrell Owens. Now, on the grandest stage of them all, Nick Foles will attempt to make this the greatest weekend in Philadelphia sports history by bring the Eagles their first Super Bowl win in franchise history.

The Xs and Os have been talked about ad nauseum. Bill Belichick,Tom Bradyand the rest of the New England Patriots need no further introduction. Foles, despite his playoff performances, is still the victim of skepticism nationally. Now he prepares to take on the 2017 NFL MVP in Brady. In just a few short hours however, all the talk and awards become meaningless.

That includes certain proclamations by Eagles wide receiver Alshon Jeffery. Jefferys comments surely provide the Patriots with bulletin board material. Of course, even bulletin board material is irrelevant at this point. If a team is in the Super Bowl, they deserve to be there. They also should believe they can win.

Want your voice heard? Join the Inside the Iggles team!

That feeling has swept over the city of Philadelphia leading up to todays game. The Eagles players and their fans truly believe this team is capable of pulling off their third straight upset victory. In order to do that, two current players who mirror T.O. and Dawkins need to perform like them. That would be the aforementioned Jeffery and Malcolm Jenkins.

Jenkins, to his credit, has developed into the emotional leader of the franchise. Today, the defense is going to need him to be more than just a leader. They are going to need him to play at the same level that Dawkins played at throughout his career. What Jenkins has that Dawkins did not is a better supporting cast to take on Brady and company.

As for Jeffery, he might not be what Owens was, but hes still capable of taking over a game. Coming off of his best game as a member of the Eagles, Jeffery is oozing confidence. The Eagles will need every ounce of it too. Fortunately for Jeffery, he also has a better cast of characters going to battle with him than Owens did.

Of course, the players still need to perform on the field. In 2005, the Eagles performed admirably and came up short. Now this ragtag cast of starters, replacements, veterans and rookies are faced with a similar task. The three letter word that the Eagles desire the most is win, but the three letter acronym that will be most responsible for making it happen will be RPO. As Warren Sharp points out, running the football might be the Eagles best chance for success against the Patriots.

Perhaps its appropriate that on the eve of the Super Bowl, two members from the Eagles last appearance are heading to Canton, Ohio. Maybe a better word for it is fate. What other word could describe the unprecedented run that this team has gone on? One word certainly comes to mind: Destiny. In a season that has been defined by 53 instead of one, today, one is all we need.

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The Perils Of Immortality | AMERICAN HERITAGE

On a clement August evening in 1902, Mrs. Cornelius Vanderbilt III stood on the lawn of her Newport, Rhode Island, estate, receiving two hundred guests and looking, her son later recalled, like a Gainsborough painting in her plumed picture hat, cabochon emeralds, and diamond stomacher. The entertainment for the evening, which the press billed as The Fete of Roses and she called an at-home, included, in addition to a carnival complete with a calcium-lit midway and various games of chance, a production of the current musical hit The Wild Rose . Mrs. Vanderbilt spared neither effort nor expensethe Knickerbocker Theater went dark for two nights while the cast, scenery, and stage crew traveled north to her specially constructed theaterbut her guests did not see the show that was packing in lesser mortals on Broadway. Like an MTV programmer, Mrs. Vanderbilt knew her audiences attention span. She shaved the performance from three hours to one. While no one is claiming The Wild Rose marked a high point in the history of the American theaterit featured such memorable numbers as Cupid Is the Captain and Mrs. Vanderbilts favorite, They Were All Doing the Sameits mauling by a society matron is emblematic of the wary relationship between money and art.

The cave painters at Lascaux may have been the last to get along without patrons, and for all we know, they had others bringing home their bison. When the artists patron becomes his subject, the situation grows even more dicey. Uneasy is the hand that holds the brush that paints the slavers noble countenance, the merchants proud wife, the robber barons weakchinned heir.

In 1992 the Newport Art Museum assembled an exhibition of about two hundred portraits spanning a period of three centuries. Taken together, the paintings represented not only a whos who of Newport but a retrospective of American portraiture from colonial times to the present, from Gilbert Stuart and Robert Feke toand heres the surpriseDiego Rivera and Richard Lindner. Many of the portraits, which belong to the sitters or their descendants, have since returned to their owners, but now the museum has put together 196 of them in a volume called Newportraits , published by the University Press of New England.

The collection, like the history of the city, has its high points and low. Settled in 1639 by a group fleeing the religious persecution of the Massachusetts Colony, colonial Newport was both celebrated and condemned for its tolerance. While Cotton Mather fulminated against this common receptacle of the convicts of Jerusalem and the outcasts of the land, merchants grew rich from the Triangular Trade, twenty-two distilleries turned molasses into rum, and one of the first paintings in the collection, a circa-1740 portrait of Mary Winthrop Wanton by Robert Feke, featured a dcolletage so daring that in 1859 the directors of the local Redwood Library commissioned Jane Stuart, the daughter of Gilbert, to paint, under protest, a nosegay over the cleavage. Jane Stuart called the retouching an act of vandalism, but the patrons prudishness trumped the artists eye. And she had a widowed mother and several sisters to support.

Occupied by the British during the Revolution, Newport never recovered its former prosperity, despite its popularity as a summering spot for Southern gentry fleeing their native heat and malaria in the first half of the nineteenth century and New England intellectuals seeking one anothers company in the second. Two Pulitzer Prize-winning writers, Maud Howe Elliott (awarded the prize with her sisters Florence Marion Howe Hall and Laura E. Richards for a biography of their mother, Julia Ward Howe) and Edith Wharton, make appearances in this collection. Despite Whartons comment that she did not care for watering-place mundanities, she followed the trend toward fashionable European painters and sat for the Englishman Edward Harrison May.

UNEASY IS THE HAND THAT HOLDS THE BRUSH THAT PAINTS THE SLAVERS NOBLE COUNTENANCE, THE MERCHANTS PROUD WIFE.

By then the Gilded Age had arrived. The village built on tolerance had become the resort notorious for exclusivity. Newport was the very Holy of Holies, the playground of the great ones of the earth from which all intruders were ruthlessly excluded by a set of cast-iron rules, wrote Elizabeth Drexel Lehr, whose husband, Harry, succeeded Ward McAllister as the arbiter of social acceptability.

Sitting for a portrait is an act of hubris. The subject is saying, I am worth looking at. It is also a statement of trust in the artist: I will let you fashion the face I show to posterity. Even after photography had introduced a less risky road to immortality, the rich, the powerful, the celebratedand those who wanted to becontinued to take the gamble.

When it comes to showing a fine face to future generations, the modern subjects in this collection who have perhaps fared best were painted by a loved one. Olive Bigelow Pell arrived in Newport as the second wife of Congressman Herbert Claiborne Pell. Her Pells at Tea , 1933, captures the ease and tenderness of a halcyon family moment. Mr. Pell lounges, Mrs. Pell serves, her daughter perches on the arm of Herberts chair, her son-in-law bounces her grandchild on his knee. No outsider intrudes to disturb the peace. The artist is one of the family. (The fact that the family is an amalgam of two shattered by divorce, a somewhat unusual state of affairs at the time, adds another dimension to the scene.)

SITTING FOR A PORTRAIT IS A STATEMENT OF TRUST. THE SUBJECT IS SAYING, I WILL LET YOU FASHION THE FACE I SHOW TO POSTERITY.

The equally affectionate Herbert and Claiborne Pell , 1927, tells a story as clearly and eloquently as a Norman Rockwell illustration. Pell painted this luminous portrait of her husband and his son, the future senator Claiborne Pell, shortly after her marriage. The arrangement of handsHerbert Pell raises his right to make a point while his son clasps his fathers left in his own small fistcreates a magical circle of private love and public duty.

It is a truism that portraits reveal what is important to the sitterthe squire with his horses and hunting dogs, the dowager with her diamondsbut in Pells self-portrait, One Lump or Two? , her gorgeous silver tea service and tantalizingly edible sandwiches shimmer with irony as well as exuberance.

Pell saw. A diplomatic colleague of her husband wrote to Franklin D. Roosevelt that she was the embodiment of Ruskins remark that for a thousand who can think there is only one that can see. She also worked, constantly, painstakingly, passionately. But other artistically inclined insiders found the conflict between the delights of life and the demands of art more difficult to reconcile. An artist neighbor encouraged Gertrude Vanderbilt Whitney to pay less attention to her social role and more to her sculpture, and fortunately for the museum-going public, she followed his advice. The Senator Pell pictured here as a boy ascribed his championship of the National Endowment for the Arts to the fact that he was a frustrated artist. But for some the good life proved too alluring. The senior Pell, a model of sober statesmanship in the portrait, later wrote his son, My worst quality was, of course, an almost uncontrollable unwillingness to work except sporadically.

In a world where work is an afterthought, or at least a choice, what, then, are the inhabitants thinking when they ask artists, some of them self-proclaimed revolutionaries, to paint their portraits? They are supporting the arts certainly, but they could do that by buying an existing canvas. The answer, I suspect, has something to do with family pride and the aforementioned hubris. The result is often fabulous, but the likeness is not always flattering. Sometimes it is not even a likeness.

Diego Riveras Jojo (Joseph Hudson) , 1955, is a beautiful and haunting case in point. The painting is not really a portrait, since the little heirs face bears an uncanny similarity to the aging Mexican artists features, but with its mysterious imagery and arresting composition it is pure seduction.

A 1982 painting by Larry Rivers of Jojos sister, Titi, Princess von Fuerstenberg, Portrait of the Princess (Titi Hudson in Blazing Pink) , does achieve an individual and immediate resemblance. A lyrical sketch in black on a splash of pink, the portrait reveals a wealth of character with an economy of line. Clear-eyed but not unaffectionate, it also illustrates what Rivers called my conflict with and about the useful rich, toward whom I acted more democratically than I felt. The catalogue does not reveal what the princess thought of the painting, but it does say that Josephine Bryce was delighted with the way her friend Salvador Dali portrayed her. Posed in profile like a Renaissance noble, she wears her favorite green velvet dress and holds a red carnation to signify wifely devotion. The background is recognizable Dali: a lurid sky; a surrealistic lake; a miniature Don Quixote, Sancho Panza, and musicians to represent the subjects interest in the arts. Mrs. Bryce was, in fact, posing against the steel walls of a City Bank vault. She was determined to sit wearing the family emeralds, but they belonged to her brother at the time, and the insurance company would not permit them to leave the premises. The portrait hung in Mrs. Bryces dining room for forty years and always disturbed her daughter, who wondered if the artist hadnt seen a hardness in her mother that shed missed.

SOCIETY PORTRAITISTS TEND TO SEND VALENTINES; AVANT-GARDE ARTISTS MAKE NO PROMISES.

The possibility brings us back to that uneasy relationship. Society portraitists who are insiders tend to send valentines. Avant-garde artists of international standing make no promises, and a sitter who chooses one of the latter takes a chance. It is hard to look at the Dali portrait without thinking hes having a little fun at his friends expense. It is impossible to gaze at the Rivera painting without falling in love with a work of art that resembles no one but speaks to everyone. Sometimes art triumphs and the patron still comes out ahead.

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The Perils Of Immortality | AMERICAN HERITAGE

Immortals | Baccano! Wiki | FANDOM powered by Wikia

The Immortals ( fushisha) are a group of people who attained immortality either by drinking the Grand Panacea or by drinking the Cure-All Elixir.

There are set of rules that immortals must follow, as set by Ronny Schiatto. Although they are able to use a false name for temporary introductions to mortals, their bodies reject all attempts to establish lasting false identities. They must use their real names when speaking to another immortal - and this is an involuntary measure; it is physically impossible to give a false name when there is another immortal in one's vicinity. Immortals are also unable to write down a false name on documents - they are forced to write their real name.

To kill an immortal, another immortal must "devour" them by placing their right hand on the other's head while thinking "I want to eat you." After one devours another immortal, one receives all the immortals' memories and knowledge.

The more often an immortal is injured in a certain way, the faster they will recover from that injury. For example: Dallas Genoard has been shot in the head more than once. Each time he is shot in the head, the faster he recovers.

In the 2007 anime adaptation, immortals can transmit information and images to another immortal by placing their right hand on the other's head and thinking about the information or image. This is not so in the light novels - though immortals can transmit information in that manner to their linked homunculi (ex: Szilard to Ennis) albeit with their left hand. In the anime, Maiza transmits knowledge of the elixir to Gretto via this method, but in the novels he simply tells Gretto half of the recipe.

At least three generations of immortals are currently confirmed.

This generation originally consisted of ten people: nine alchemy students and their teacher Dalton Strauss. A decade after their turning, one immortal devoured his own mother - sparking a war for survival within the group. Dalton himself first heard of the immortality elixir from the sage Majeedah Batutah.

There are only three survivors of this generation: Dalton himself; Renee Paramedes Branvillier; and Archangelo. Archangelo is personally responsible for the deaths of the other immortals, whom he devoured for Renee's sake (he loved her, and believed that the very existence of the others was a threat to her). To avoid devourment, Dalton severed his own right hand and gave it to Archangelo, making it impossible for him to devour Renee or anyone else. Archangelo proceeded to bury it in a spot that only he knows the whereabouts of. The survivors would go on to continue teaching alchemy to interested students.

This generation originally consisted of thirty people who obtained immortality aboard the Advena Avis.

Fleeing persecution in Lotto Valentino, the alchemists board the ship and head for the New World. At some point during the voyage, Maiza Avaro summons a 'demon' (Ronny Schiatto). Ronny bestows on Maiza (and only Maiza) the knowledge required to concoct the Grand Panacea. That day, Maiza teaches his younger brother Gretto half of the recipe before deciding that he will keep the recipe to himself rather than share it with the others. Alchemist Szilard Quates is outraged, and proceeds to devour thirteen of the alchemists aboard the ship -- the first he devours is Gretto, and thus he obtains half of the recipe.

Szilard jumps off the ship of his own accord (in the anime, he is cleaved in half by Nile). Once the surviving alchemists arrive in the colonies, they scatter across the continent in fear of Szilard's wrath. Five more alchemists end up dying by Szilard's hand over the course of the next two centuries. The reign of terror comes to an end when Szilard is devoured in November 1930.

It is later revealed that three of the passengers (Huey Laforet, Elmer C. Albatross, and Lebreau Fermet Viralesque) each sent Lucrezia de Dormentaire portions of the elixir (Huey and Elmer each sent her half of their portions, and Fermet sent her a 'sample' several years later). Lucrezia thus becomes a complete immortal, along with Niki and Maiza's father. Maiza's father is experimented upon over the next two centuries.

Sometime after arriving in the colonies, 1711 immortal Denkur Tg attempts to walk back to his homeland in Japan. He is intercepted in the North Pole by Fermet, who entraps him in a box while he is asleep, and sends the box into a crevasse. Denkur remains encased in ice for the next two hundred and fifty years.

1711 immortal Nile throws himself into war after war in order to never forget the realities of death once he arrives in the colonies.

Note that Advena Avis passenger Sylvie Lumiere is the only passenger who did not drink the elixir while on the boat; intending to eventually kill Szilard, she abstains from drinking her portion of the elixir for several years while in the colonies, only drinking it once she has aged several years and looks visibly different from her time aboard the ship. She dedicates her life to revenge, living solely to find and devour Szilard in revenge for Gretto.

Elmer, meanwhile, spends much of his time over the next two centuries tracing Szilard's footsteps with the intention of convincing him to repent and smile.

This group of immortals consists of an unknown amount of people, and unlike the previous two generations obtained immortality accidentally rather than purposefully. This generation became immortal via the Cure-All Elixir - Szilard's newly completed version of the immortality elixir - in November 1930.

As previously stated, this group became immortal accidentally. To explain, there were three dozen bottles of the new elixir...most of which were destroyed in a granary fire (thanks to the mishap of Randy and Pezzo). Barnes managed to save two bottles of the elixir, but quickly lost possession of them: in the novels, Firo Prochainezo switches out the bottles for his own two bottles of liquor; in the 2007 anime, the bottles are taken by Dallas Genoard and his goons, then by the Gandor Family, taken back by Dallas and company, and then stolen by Isaac & Miria...who deliver the elixir to the Martillo Family. Believing the bottles to contain alcohol, Isaac, Miria, the Gandor brothers, the Martillo executives (and some of their family members), Lia Lin-Shan and Seina all consume it at Firo's promotion party that night.

It is revealed in a drama CD that a young man called Pietro Gonzales recovered a bottle of the elixir from the collapsed granary and drank it (thinking it alcohol). Once he learns he is immortal he is horrified, and with his friend Dominico Fuentes he searches for a way to 'cure' his immortality and become mortal again in the summer of 1936.

Szilard also devised an elixir that could bestow upon someone incomplete immortality. An incomplete immortal will eventually die of old age, but otherwise can survive all manner of injury or sickness. They cannot devour others, however.

Huey's homunculi in the Lamia are the reverse: they do not physically age and cannot die from old age, but they can be killed like normal humans.

Szilard must have finished the incomplete immortality elixir by 1927, since during that year he made the priest Donatello an incomplete immortal (he later devoured the man).

By the 1930s, 1711 immortal Sylvie makes her living as a singer while 1711 immortal Begg Garott makes drugs for the Runorata Family.

In November 1930, Szilard's subordinate Paula Wilmans is one of the workers responsible for the incomplete elixir. Lester pleads with her to give him the incomplete immortality elixir, but she refuses and buries her bottle of the elixir in her husband's grave for safekeeping. Her son Mark retrieves the bottle in August 1932, and confronts Lester that month in the Coraggioso. Lester charges at him in order to get at the bottle, and Mark stabs him with his ice pick several times, severely wounding him. Lester manages to seize the bottle. Kicking Mark aside, he rips out the cork and downs the bottle's contents in one gulp.

Lester thus becomes an incomplete immortal. His wounds do not heal and leave him in perpetual agony, much to Elmer's consternation - Elmer had returned to New York on the Flying Pussyfoot and spent the past half year there in search of Szilard. After Nicola Cassetti expresses his desire to enact physical revenge upon Lester, Elmer crouches down next to Lester and offers to put him out of his misery by devouring him...as long as Lester promises that he'll smile when he goes. Despite knowing his pain-filled fate, Lester refuses. Elmer says that he'll be back in a few years once Lester has changed his mind.

After Szilard's death, both Huey and the Nebula corporation attempt to obtain his incomplete elixir. Huey orders the Lamia to steal the elixir - but Nebula gets to it first and distributes it to all twelve hundred of its employees at the Mist Wall (under the guise of it being a mandatory vaccine for their jobs) in September 1933.

By December 1934, Nebula distributes the remaining incomplete elixir to certain executives of the Russo Family (including don Placido Russo and capo Klik) under the condition that the Russos capture the Lamia. To do this, Placido recalls Graham Specter and his gang back from New York to Chicago to capture the Lamia alive. The homunculi manage to escape from Graham.

At the same time, Huey remains incarcerated in Alcatraz. 1711 immortal and FBI agent Victor Talbot incarcerates 1930 immortal Firo Prochainezo as a mole into the prison, where he has incarcerated 1930 immortal Isaac Dian as blackmail for Firo.

When Alcatraz prisoner Ladd Russo and Firo meet with Huey, it is revealed that Rene (who works for Nebula) had hired several Felix Walkens to steal Huey's eye. The Felix Walkens are easily dispatched, but Firo decides that he will steal Huey's eye instead. Sham secretly betrays Huey and helps Firo to escape, but not before Liza (a vessel of Hilton) steals Firo's eyes via one of her birds. She later returns his eyes to him via Annie, one of Hilton's vessels. Isaac Dian is released in December and reunites with fellow immortal Miria Harvent.

Back in Chicago, the Russo Family have failed to capture the Lamia. As punishment Renee devours the Russos' incomplete immortals, starting first with Placido and ending with Klik.

Huey escapes Alcatraz and later hires Claire Stanfield to guard Melvi Dormentaire in 1935. Huey has a grand scheme in 1935 that involves tainting Manhattan's municipal water supply, a move which if successful would affect seven million New Yorkers. Whatever he plans to taint the water supply with was developed by 1711 immortal Begg, whom has made some sort of deal with Huey.

Nile seeks out Victor some time during the Cold War and reports on his war experiences over the past two centuries before leaving. Meanwhile in the mid-twentieth century, a Soviet nuclear submarine encounters Denkur at the North Pole and thaws him out. The KGB chase Denkur all the way to Germany, where he is shot as he tries to climb over the Berlin Wall. He hides in East Germany until the wall falls, and finally makes his way back to Japan.

1711 immortals Maiza Avaro and Czeslaw Meyer go on a trip in the 1970s to find the surviving 1711 immortals and inform them of Szilard's passing. Over the next few decades, they locate Begg Garott, Nile, Sylvie Lumiere and Denkur Tg. After Bartolo Runorata's death circa 1972, Begg falls into a steep mental decline.

In 1991, Elmer visits a ninja village in Japan and has a chance, unexpected reunion with Denkur, who had found employment there.

In December 1998, Elmer arrives in a certain European country in Szilard's footsteps. There, he finds a strange, isolated village and the homunculus Phil, and takes up residence in the village's castle.

In 2001, Maiza, Czes, Nile, Denkur and Sylvie travel to Europe in search of Elmer, the last missing immortal. Once they reunite with him, they investigate the strange village he lives in and the laboratory of Bild Quates. Once Maiza and Czes return to America in the summer of 2002, Maiza visits Begg in the hospital where Begg has remained an inpatient for the past thirty decades.

In August 2002, 1711 immortals Elmer, Sylvie, Denkur, Nile, and Czes, and the 1930 immortal Firo (along with Ennis) board the cruise liners Entrance and Exit, and are embroiled in the massacres aboard both ships. The 1711 immortals (sans Czes) were invited aboard the Exit by Huey, while Czes accompanied Firo and Ennis on the Entrance during their honeymoon. The chaos aboard both ships was orchestrated by Fermet in an attempt to recreate the events of the Flying Pussyfoot.

Fermet reveals himself as alive to Czes after the Entrance arrives in Kyoto, Japan.

Any amount of the elixir will grant immortality, even just one sip of it. When one drinks the elixir, it essentially preserves their body in the state it is in at the time of consumption; the most obvious example is that Czeslaw is doomed to be a child forever - more horrifying is how Niki has been in constant agony for the past three centuries ever since she had near-mortal wounds when she became immortal. As another example, Elmer's body is still covered in the countless scars he bore before consuming the elixir.

Severed body parts will seek out the body in order to reattach themselves; of course, it is possible to obstruct reattachment through burial or containment. One could potentially use this as a means to find another immortal - just like Renee does in the 1930s when she searches for Huey (using his eye as a 'homing beacon' of sorts - she just has to follow the direction it tugs in).

An immortal is not immune to exhaustion, or the psychological effects of starvation. Ennis has stated that immortals can become temporarily feverish if they are infected or poisoned. If they are in enough pain, they will black out just as humans do.

To elaborate on what happens when one absorbs a devoured immortal's knowledge, Szilard in Manga Chapter 011 says that an immortal body "not only grasps the knowledge it 'eats' with its brain, it physically 'knows' it as well. Provided you have the knowledge, you can ride horseback or dance perfectly the very first time [you try.]"

Dalton Strauss notes in 1935-B: Dr. Feelgreed that once one becomes immortal, one's capacity for memory expands beyond that of a normal human's capacity.

Elmer says this of the Grand Panacea in 1932: "I've been told it has a bit of a mind of its own and naturally improves things over time." It is unknown who told him and how true the statement is. He is speaking to Lester, and comments that with injuries like the ones Lester has that "it might take a very long time."

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Chaos Emerald of Immortality – Sonic News Network

This object exists primarily within the Adventures of Sonic the Hedgehog continuity.Information in this article may not be canonical to the storyline of the games or any other Sonic continuity.

The Chaos Emerald of Immortality being worn by Robotnikhotep.

The Chaos Emerald of Immortality is an object that appears in the Adventures of Sonic the Hedgehog television series. It is one of the four magical Chaos Emeralds sought after by Dr. Robotnik in the Quest for the Chaos Emeralds Saga.

The Chaos Emerald of Immortality grants its wearer the ability to live forever. Additionally physical damage inflicted upon the wearer is rendered ineffective.

The Chaos Emerald of Immortality is kept in the Pyramid of Robotnikhotep I located in ancient Mobigypt. The mummy of Robotnikhotep literally wears the Emerald around his neck inside of his coffin. It grants him eternal life, but when he takes it off and gives it to Dr. Robotnik he turns to dust. With the help of a Mummified Hedgehog, Sonic is able to defeat Robotnik and return the Emerald to its rightful wearer.[1]

Later Robotnik returns to the Pyramid and steals the Emerald from Robotnikhotep once again. This, along with the other three emeralds transforms Robotnik into Supreme High Robotnik. However he is soon defeated and the Chaos Emerald of Immortality is returned to Mobigypt.[2]

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Chaos Emerald of Immortality - Sonic News Network

Time travel, immortality, inconsistencies: Has Game of Thrones jumped the dragon? – The Sydney Morning Herald

Unsurprisingly, the director of the most recent episode of Game of Thrones has been forced to defend it against charges of inconsistency in its approach to time and travel.

Alan Taylor a veteran director whose credits include time-travel cyborg thriller Terminator: Genisys and Thor: The Dark World admitted in an interview withVarietythat "timing was getting a little hazy" in this week's episode, Beyond the Wall.

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SPOILER ALERT: How ravens travel so fast and what exactly kills White Walkers are some of one of many questions fans are asking about Game of Thrones.

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SPOILER ALERT: How ravens travel so fast and what exactly kills White Walkers are some of one of many questions fans are asking about Game of Thrones.

However, he insisted, "in terms of the emotional experience", it was solid.

Taylor said Jon and co "sort of spent one dark night on the island" in the middle of an icy lake, surrounded by the army of the undead but, he conceded, "there was some effort to fudge the timeline a little bit by not declaring exactly how long we were there" before Dany and her dragons flew to the rescue.

He admitted some viewers were troubled by such fudging. "They seemed to be very concerned about how fast a raven can fly but there's a thing called plausible impossibilities, which is what you try to achieve, rather than impossible plausibilities. So I think we were straining plausibility a little bit."

As mea culpas go,Taylor's effort was rather lacking. For a start, he didn't address the most glaring "implausibility" in the episode the sudden emergence of four enormous chains, used by the army of the dead to haul the downed dragon Viserion out of the icy lake. With no backpacks, no packhorses and not a Bunnings in sight, their miraculous appearance tipped the show from "plausible impossibilities" to "implausible impossibilities" in an instant.

More to the point, though, the flaws that riddled this episode have become commonplace in Game of Thrones in the last couple of seasons. So much so that many people are now beginning to wonder if the show hasn't finally jumped the dragon.

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Let's start with the matter of time and travel. Taylor may wish to brush the concerns aside, but they are real and substantial, and point to an incipient laziness in the storytelling that threatens to undo so much good work in the producers' rush to tie things up.

Just popping out. This shouldn't take long. Time and distance have lost all meaning in Game of Throines. Photo: Helen Sloane

A mythologisedBritain, Westeros is a land mass of not inconsiderable size. The Wall, we are told, is 300 miles long and that gives us a handy gauge for estimating all other distances, at least roughly. The Wall to Winterfell is about 700 miles, give or take. Winterfell to King's Landing? That's about 1200 miles by land.

Getting around used to be an arduous and time-consuming business. To make sure I hadn't merely misremembered this, I rewatched the first episode recently. The first words out of Cersei's mouth in the entire show were delivered upon arrival in Winterfell from King's Landing: "We've been riding for a month," she complained.

Just take that in for a moment. A month on horseback (or, for the royals, in a carriage).

Now contrast that with the speed and ease with which Jaime has moved his armies unnoticed, mind around Westeros, pretending to be at Casterly Rock (approximately 500 miles to the west of King's Landing) when all along he was at Highgarden (about 600 miles to the south-west). Or with Jon's rapid-transit commuting between Winterfell and Dragonstone (roughly 300 miles by land and another 1000 by sea).

Jon's most recent journey comprised a sea voyage of around 1300 miles from Dragonstone to Eastwatch, followed by a trek across snow and ice of who knows what distance into theLandofAlways Winter. Yet he set off with about as much preparation as if he were popping down to the milk bar for a malted vanilla thickshake.

True, the journey from the Wall on foot into the ice seemed to take forever, but Gendry's dash back unfolded in a time with which Usain Bolt might have been happy.

Let's not even start on the fact that the White Walkers seem to be able to move at great speed when they want and were lurking not far from the Wall in the very first episode of the show, back in 2011 yet have traversed the wasteland with all the sense of urgency of a road crew laying bitumen on double-time wages.

The Night King leads his army of the undead at a leisurely pace, unless they're sprinting.

Or on the fact that after the Iron Fleet was taken holus bolus by Yara Greyjoy, her uncle Euroncommanded every tree on the (rather treeless) islands be chopped down to make 1000 new ships, a massive feat of engineering that apparently took just a few months. Oh, and they seem to be rather special ships too able to catch up toYara's fleet and overwhelmit, undetected, in the night.

It's not just time and distance that have been beset by implausible impossibilities lately, either. There's the small matter of the immortality that seems to be spreading like a plague through the Seven Kingdoms too.

One of the things that quickly established GoT as something special was the idea that no one was safe. What a stroke of genius it was to establish Ned Stark as the moral centre of season one only to have his head lopped off by its end. If your main man was expendable, what hope was there for everyone else?

Killing off Ned Stark was an early masterstroke. Photo: HBO

The Red Wedding in season three was the apotheosis of that, with Robb Stark seemingly our new moral centre and his mother Catelyn cruelly offed. And when Jon Snow was butchered by his own men at the end of season five, it seemed there was no dark corner into which the show was not willing to lead us.

But it was with the resurrection of Jon Snow that things began to unravel. I wrote at the time that this business of killing off a hero only to bring them back was the ultimate act of bad faith and one of which the producers of The Walking Dead had also been guilty in killing/not-killing fan favourite Glenn (before ultimately killing him for real in the show's most gut-wrenching scene ever). But perhaps there was some justification in Game of Thrones because of the pseudo-Christian ethos underpinning the narrative as a whole.

Maybe.

But whatever its grander relevance, Jon's apparent immortality has a very powerful negative impact on the storytelling it robs the show of tension. No matter how parlous his situation see the mutiny at the Wall, The Battle of the Bastards, the attack of the zombie horde, the crashing through the ice he is simply too precious to be killed. He is GoT's Frodo, Luke and Jesus rolled into one.

His salvation at the Battle of the Bastards was excusable, and a masterstroke of storytelling and spectacle he owes his life and his victory to his sister, a fact that establishes a simmering rivalry and resentment and potentially makes her pawn to Littlefinger's political machinations but his rescue by Benjen this week was a deus ex machina of the most bogus kind. Like, seriously.

Death, too, has lost its sting. Photo: HBO / Foxtel

It's not just Jon, though. We've been asked to accept that the Red Witch Melisandre is hundreds of years old, and what a reveal that was (even if she had once before taken off her necklace and NOT TURNED INTO A WITHERED HAG). OK, magic; I don't buy it, but I'm willing to suspend my disbelief for the sake of the world you've created, GoT.

We've been asked to believe that Bran can travel back and forth in time, that's he's maybe capable of controlling people's minds while doing so, that he may even be twinned with the Night King (OK, this is now spinning off into the realm of fan theory, and that's a rabbit hole I'd rather not go down, so let's stop right there). All of that effectively makes him immortal too. OK. Whatever.

Beric Dondarrion has died and come back six times (but with his priest Thoros now dead, his days of dead-cat bouncing may be over). Arya survived a serious stabbing, tumble down a stone staircase and plunge into sewer-infested waters in Braavos without even a hint of septicaemia. Jaime was hauled from the lake by Bronn, who seemed barely troubled by the enormous weight of his armour or the mud and water dripping off it. Even lowly, cowardly Theon has managed to stay alive after castration, torture, leaps from castle walls and near drowning.

In other words, the show has reneged on one of its core promises and premises - that anyone could die, at any moment. Suddenly, its core characters seem as untouchable as Marvel superheroes. It's a massive cheat that leaves GoTinfinitely poorer.

Bran Stark can see the past, the future, everything. Except what a knob he has become. Photo: AP

Perhaps the greatest crime of all, though, is that the producers of Game of Thrones have begun to play merry havoc with the behaviour and motivation of our most beloved characters. Why, having gone to such great lengths to find a cache of dragon glass, would Jon head north to capture a white walker WITHOUT TAKING ANY? Why would Daenerys talk about having followed Tyrion's advice about not flying her dragons into battle when she had just done so? Why would Jaime flip-flop on everything when he has been on a slow journey away from bastardry towards some semblance of decency? Why would Varys, the arch schemer, suddenly become the new moral centre of this world? And why would Arya become so fixated on revenge that she now even has her sister in her sights? True, she trained as an assassin in the House of Black and White, but does that really mean she is utterly incapable of seeing shades of grey?

You may well ask if it is fair to take Game of Thrones to task for losing its grip on reality. You might well point out that it's a fantasy show, for crying out loud, so what place does reality have in any of this anyway?

Now into his seventh life, Beric may be running out of chances. Photo: HBO / Foxtel

That's a fair enough point, but the trick on which GoT was built was an absolute conviction in and the believability of the world it created. It didn't matter that we know there are no such things as dragons or giants or white walkers. If the world-building was solid enough, and if the rules that govern this faux world remained consistent, we were willing to suspend our disbelief and go along for the ride.

Lately, though, Game of Thrones has suspended that suspension of disbelief in favour of a much bolder strategy. It has simply thrown the rule book away. It has begun to rely on spectacle to get it out of the corners into which sloppy storytelling has painted it (luckily, it still does spectacle spectacularly well).

There's little danger that viewer numbers will suffer as a result of all this. After 66 episodes, fans simply have too much invested in the show to do a Theon and jump ship now.

But reputation and regard is a far more fragile thing. And right now, they are very much at risk.

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Time travel, immortality, inconsistencies: Has Game of Thrones jumped the dragon? - The Sydney Morning Herald

The super rich are injecting blood from teenagers to gain ‘immortality’ – BBC Three (satire) (blog)


BBC Three (satire) (blog)
The super rich are injecting blood from teenagers to gain 'immortality'
BBC Three (satire) (blog)
If you're a millennial, you might have felt for a while now that older generations are out to suck us dry. To their Ying of affordable housing, secure jobs and actual pensions, we seem to have the Yang of six-figure car garages for homes, 'gigs' for ...

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The super rich are injecting blood from teenagers to gain 'immortality' - BBC Three (satire) (blog)