Alan Jacobs

Here he is. The acquaintance is made, I am introduced to him. The instant I first lay eyes on him, I set him apart at once; I jump back, clap my hands, and say half aloud, “Good lord, is this the man, is this really the one – he looks just like a tax collector!”

But this is indeed the one. I move a little closer to him, watch his slightest movement to see if it reveals a bit of heterogeneous optical telegraphy from the infinite, a glance, a facial expression, a gesture, a sadness, a smile that would betray the infinite in its heterogeneity with the finite. No! I examine his figure from top to toe to see if there may not be a crack through which the infinite would peek. No! He is solid all the way through. His stance? It is vigorous, belongs entirely to finitude; no spruced-up burgher walking out to Fresberg on a Sunday afternoon treads the earth more solidly.

He belongs entirely to the world; no bourgeois philistine could belong to it more. Nothing is detectable of that distant and aristocratic nature by which the knight of the infinite is recognized. He finds pleasure in everything, takes part in everything, and every time one sees him participating in something particular, he does it with an assiduousness that marks the worldly man who is attached to such things.