Franz Kafka, "Up in the Gallery"

If some frail tubercular lady circus rider were to be driven in circles around and around the arena for months and months without interruption in front of a tireless public on a swaying horse by a merciless whip-wielding master of ceremonies, spinning on the horse, throwing kisses and swaying at the waist, and if this performance, amid the incessant roar of the orchestra and the ventilators, were to continue into the ever-expanding, gray future, accompanied by applause, which died down and then swelled up again, from hands which were really steam hammers, perhaps then a young visitor to the gallery might rush down the long staircase through all the levels, burst into the ring, and cry “Stop!” through the fanfares of the constantly adjusting orchestra.

But since things are not like that—since a beautiful lady, in white and red, flies in through curtains which proud men in livery open in front of her, since the director, with the devotion of an animal, seeks her eyes, breathes in her direction, and, as a precaution, lifts her up on the dapple-gray horse, as if she were his granddaughter, the one he loved more than anything else, as she starts a dangerous journey, but he cannot decide to give the signal with his whip and finally, controlling himself, gives it a crack, runs right beside the horse with his mouth open, follows the rider’s leaps with a sharp gaze, hardly capable of comprehending her skill, tries to warn her by calling out in English, furiously castigating the grooms holding hoops, telling them to pay the most scrupulous attention, and begs the orchestra, with upraised arms, to be quiet before the great somersault, finally lifts the small woman down from the trembling horse, kisses her on both cheeks, and considers no public tribute adequate, while she herself, supported by him, high on the tips of her toes, with dust swirling around her, arms outstretched and little head thrown back, wants to share her luck with the entire circus—since this is how things are, the visitor to the gallery puts his face on the railing and, sinking into the final march as if into a difficult dream, weeps, without realizing it.

An Kafkaesque example of how one opens up meaning through a paradoxical conclusion. If you want to understand this, I highly recommend reading this article, in its' entirety.

The paradox is really the pathos of intellectual life and just as only great souls are exposed to passions it is only the great thinker who is exposed to what I call paradoxes, which are nothing else than grandiose thoughts in embryo.- Soren Kierkegaard

Take away paradox from the thinker and you have a professor.- Soren Kierkegaard