Word: awe
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Dates: during 2000-2009
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...seem logical, in retrospect, that a combination of awe and rebellion made Einstein exceptional as a scientist. But what is less well known is that those two traits also combined to shape his spiritual journey and determine the nature of his faith. The rebellion part comes in at the beginning of his life: he rejected at first his parents' secularism and later the concepts of religious ritual and of a personal God who intercedes in the daily workings of the world. But the awe part comes in his 50s when he settled into a deism based on what he called...
...meant when he called himself religious: "The most beautiful emotion we can experience is the mysterious. It is the fundamental emotion that stands at the cradle of all true art and science. He to whom this emotion is a stranger, who can no longer wonder and stand rapt in awe, is as good as dead, a snuffed-out candle. To sense that behind anything that can be experienced there is something that our minds cannot grasp, whose beauty and sublimity reaches us only indirectly: this is religiousness. In this sense, and in this sense only, I am a devoutly religious...
...fact, Einstein tended to be more critical of debunkers, who seemed to lack humility or a sense of awe, than of the faithful. "The fanatical atheists," he wrote in a letter, "are like slaves who are still feeling the weight of their chains which they have thrown off after hard struggle. They are creatures who--in their grudge against traditional religion as the 'opium of the masses'-- cannot hear the music of the spheres...
When the U.S. invaded Iraq four years ago, Yasser Obaid Hussein's life was full of peril - but his mind was filled with hope. Night after night, his modest Baghdad apartment was shaken by the U.S. "shock and awe" bombing campaign. His pregnant wife Sheherezad was worried that a cruise missile might crash through the window. To calm her and their three children, Yasser tried to stay positive. "If we survive the bombs," he recalls saying, "we will have a wonderful new life...
...Schellenberger, too, was poised throughout the program—and entirely in harmony with Lipkind. Her masterful arpeggiated chords in “Sonata for Violin and Piano in A Major (1886)” by Franck would put any other pianist in awe of her abilities. The light treble notes that introduced Debussy’s “Sonata for Cello and Piano (1915)” and the articulated, precisely abrupt rests of Anton Webern’s “Drei Kleine Stücke, Op. 11 (1914)” showed she was at home...