In a work of art, chaos must shimmer through the veil of order.

A SWEET disorder in the dress
Kindles in clothes a wantonness :
A lawn about the shoulders thrown
Into a fine distraction :
An erring lace which here and there
Enthrals the crimson stomacher :
A cuff neglectful, and thereby
Ribbons to flow confusedly :
A winning wave (deserving note)
In the tempestuous petticoat :
A careless shoe-string, in whose tie
I see a wild civility :
Do more bewitch me than when art
Is too precise in every part.

<i>There is in all things a pattern that is part of our universe. It has symmetry, elegance, and grace - these qualities you find always in that the true artist captures. You can find it in the turning of the seasons, the way sand trails along a ridge, in the branch clusters of the creosote bush of the pattern of its leaves. We try to copy these patterns in our lives and in our society, seeking the rhythms, the dances, the forms that comfort. Yet, it is possible to see peril in the finding of ultimate perfection. It is clear that the ultimate pattern contains its own fixity. In such perfection, all things move towards death.</i>

What is in charge of spreading all this before us? What nets and tethers all of this together? What remains itself unoccupied by any activity and yet shoves all this around to make it happen?
Could it be: there is some mechanism that cannot help itself?
What so lavishly puts all this forth?
What remains itself unoccupied by any activity and yet in a symphony of lascivious joy goads it all on?

In a room the size of a ballroom the Pattern was laid. The floor was black and looked smooth as glass. And on the floor was the Pattern.
It shimmered like the cold fire that it was, quivered, made the whole
room seem somehow unsubstantial. It was an elaborate tracery of bright power, composed mainly of curves, though there were a few straight lines near its middle. It reminded me of a fantastically intricate, life-scale version of one of those maze things you do with a pencil (or ballpoint, as the case may be), to get you into or out of something. Like, I could almost see the
words “Start Here,” somewhere way to the back. It was perhaps a hundred
yards across at its narrow middle, and maybe a hundred and fifty long.
It made bells ring within my head, and then came the throbbing. My mind recoiled from the touch of it. But if I were a prince of Amber, then somewhere within my blood, my nervous system, my genes, this pattern was recorded somehow, so that I would respond properly, so that I could walk the
bloody thing.

Insofar as we appreciate order, it is when we perceive it as being accompanied by complexity, when we feel that a variety of elements has been brought to order — that windows, doors and other details have been knitted into a scheme that manages to be at once regular and intricate. (p184)

In the ill-judged execution of the well-judged plan of things the call seldom produces the comer, the man to love rarely coincides with the hour for loving. Nature does not often say 'See!' to her poor creature at a time when seeing can lead to happy doing; or reply 'Here!' to a body's cry of 'Where?' till the hide-and-seek has become an irksome, outworn game. We may wonder whether at the acme and summit of the human progress these anachronisms will be corrected by a finer intuition, a close interaction of the social machinery than that which now jolts us round and along; but such completeness is not to be prophesied, or even conceived as possible. Enough that in the present case, as in millions, it was not the two halves of a perfect whole that confronted each other at the perfect moment; part and counterpart wandered independently about the earth in the stupidest manner for a while, till the late time came. Out of which maladroit delay sprang anxieties, disappointments, shocks, catastrophes — what was called a strange destiny.

The train swung around the curve, the engine puffing with short, heavy blasts, and they passed smoothly from sight that way, with that quality about them of shabby and timeless patience, of static serenity: that blending of childlike and ready incompetence and paradoxical reliability that tends and protects them it loves out of all reason and robs them steadily and evades responsibility and obligations by means too barefaced to be called subterfuge even and is taken in theft or evasion with only that frank and spontaneous admiration for the victor which a gentleman feels for anyone who beats him in a fair contest, and withal a fond and unflagging tolerance for whitefolk's vagaries like that of a grandparent for unpredictable and troublesome children, which I had forgotten.

The onset of catastrophe is not signaled by the sense of falling through the dark to an accidental death: everything, including a catastrophe, has a moment-by-moment structure - a structure that is beyond measurement or comprehension, one that is maddeningly complex or must be conceived in quite another manner, in which the degree of complexity can be articulated only in terms of images that seem impossible to conjure - visible only if time has slowed down to the point that we see the world as indifferent owing to the available circumstances and having doomed preconditions that arrive at a perfect universal conclusion, if only because they are composed of individual intentions - because the moment is the result of unconscious choices, because a key doesn't automatically fit into the ignition, because we do not start into third gear and move down to second but we start in second and move into third, rolling down the hill then turning onto a highway above the village, because the distance before us is like looking down a tunnel, because the greenery on the boughs still smells of morning dew, because of the death of a dog and someone's badly executed maneuver when turning left, that is to say because of one choice or another, of more choices and still more choices ad infinitum, those maddening had-we-but-known choices impossible to conceptualize because the situation we find ourselves in is complicated, determined by something that is in the nature of neither God nor the devil, something whose ways are impenetrable to us and are doomed to remain so because chance is simply a matter of choosing, but the result of that which might have happened anyway.

Everything about us, everything around us, everything we know and can know of is composed ultimately of patterns of nothing; that’s the bottom line, the final truth. So where we find we have any control over those patterns, why not make the most elegant ones, the most enjoyable and good ones, in our own terms?

For mile after mile the same melodic phrase rose up in my memory. I simply couldn’t get free of it. Each time it had a new fascination for me. Initially imprecise in outline, it seemed to become more and more intricately woven, as if to conceal from the listener how eventually it would end. This weaving and re-weaving became so complicated that one wondered how it could possibly be unravelled; and then suddenly one note would resolve the whole problem, and the solution would seem yet more audacious than the procedures which had preceded, called for, and made possible its arrival; when it was heard, all that had gone before took on a new meaning, and the quest, which had seemed arbitrary, was seen to have prepared the way for this undreamed-of solution.

She thought of the boy's features as an exquisite distillation out of random patterns-endless queues of happenstance meeting at this nexus.

There are only patterns, patterns on top of patterns, patterns that affect other patterns. Patterns hidden by patterns. Patterns within patterns.
If you watch close, history does nothing but repeat itself.
What we call chaos is just patterns we haven't recognized. What we call random is just patterns we can't decipher. what we can't understand we call nonsense. What we can't read we call gibberish.
There is no free will.
There are no variables.

Most of the time I am sunk in thought, but at some point on each walk there comes a moment when I look up and notice, with a kind of first-time astonishment, the amazing complex delicacy of the words, the casual ease with which elemental things come together to form a composition that is — whatever the season, wherever I put my besotted gaze — perfect.