Articulate Words Quotes

Occasionally in life there are those moments of unutterable fulfillment which cannot be completely explained by those symbols called words. Their meanings can only be articulated by the inaudible language of the heart.

The more articulate one is, the more dangerous words become.

Ivy waved the wet handkerchief, as much as to say, words cannot possibly articulate my profound distress. Then, because Ivy never settled for meaningful gestures when verbal embellishments could compound the effect, she said, "Words cannot possibly articulate my profound distress.

There's a place beyond words where experience first occurs to which I always want to return. I suspect that whenever I articulate my thoughts or translate my impulses into words, I am betraying the real thoughts and impulses which remain hidden.

Your Majesty, please get down. My friend Aris is really a very good man, and if you fall off that wall he's going to hang for it, and so will his squad, most of whom are also nice men, and though I can't say I really care if your attendants hang, there are probably many people that do care, and would you please, please get down?" The king looked at him, eyes narrowed. "I don't think I've ever heard you say that many words in a row. You sounded almost articulate.

It’s not ‘natural’ to speak well, eloquently, in an interesting articulate way. People living in groups, families, communes say little—have few verbal means. Eloquence—thinking in words—is a byproduct of solitude, deracination, a heightened painful individuality.

On Writing: Aphorisms and Ten-Second Essays 1. A beginning ends what an end begins. 2. The despair of the blank page: it is so full. 3. In the head Art’s not democratic. I wait a long time to be a writer good enough even for myself. 4. The best time is stolen time. 5. All work is the avoidance of harder work. 6. When I am trying to write I turn on music so I can hear what is keeping me from hearing. 7. I envy music for being beyond words. But then, every word is beyond music. 8. Why would we write if we’d already heard what we wanted to hear? 9. The poem in the quarterly is sure to fail within two lines: flaccid, rhythmless, hopelessly dutiful. But I read poets from strange languages with freedom and pleasure because I can believe in all that has been lost in translation. Though all works, all acts, all languages are already translation. 10. Writer: how books read each other. 11. Idolaters of the great need to believe that what they love cannot fail them, adorers of camp, kitsch, trash that they cannot fail what they love. 12. If I didn’t spend so much time writing, I’d know a lot more. But I wouldn’t know anything. 13. If you’re Larkin or Bishop, one book a decade is enough. If you’re not? More than enough. 14. Writing is like washing windows in the sun. With every attempt to perfect clarity you make a new smear. 15. There are silences harder to take back than words. 16. Opacity gives way. Transparency is the mystery. 17. I need a much greater vocabulary to talk to you than to talk to myself. 18. Only half of writing is saying what you mean. The other half is preventing people from reading what they expected you to mean. 19. Believe stupid praise, deserve stupid criticism. 20. Writing a book is like doing a huge jigsaw puzzle, unendurably slow at first, almost self-propelled at the end. Actually, it’s more like doing a puzzle from a box in which several puzzles have been mixed. Starting out, you can’t tell whether a piece belongs to the puzzle at hand, or one you’ve already done, or will do in ten years, or will never do. 21. Minds go from intuition to articulation to self-defense, which is what they die of. 22. The dead are still writing. Every morning, somewhere, is a line, a passage, a whole book you are sure wasn’t there yesterday. 23. To feel an end is to discover that there had been a beginning. A parenthesis closes that we hadn’t realized was open). 24. There, all along, was what you wanted to say. But this is not what you wanted, is it, to have said it?

Strength of creative writing lies in the skill of handling words and articulating artistic expression of feelings

The truth is that the forms I see have been slowly emptied out. They no longer have any content. They are shapes only. A train, a wall, a world. Or a man. A thing dangling in senseless articulation in a howling void. No meaning to its life. Its words. Why would I seek the company of such a thing? Why?

..he made me understand something very important. Whether because I am a Latin, or because I am a neurotic, I have a need of gestures. I am myself expressive, demonstrative; every feeling I have takes on expression: words, gestures, signs, letters, articulateness or action. I need this in others.

What is it about those two words - I'm sorry - that makes otherwise articulate guys into babbling idiots?

My stepfather, John O'Hara, was the goodest man there was. He was not a man of many words, but of carefully chosen ones. He was the one parent who didn't try to fix me. One night I sat on his lap in his chair by the woodstove, sobbing. He just held me quietly and then asked only, "What does it feel like?" It was the first time I was prompted to articulate it. I thought about it, then said, "I feel homesick." That still feels like the most accurate description - I felt homesick, but I was home.

Some things don't need words. Sometimes it's enough to just feel. You don't have to label and articulate all that's around you.

... you sometimes had to force people to say things they would rather not articulate, just so they could hear their own words. It was interesting the way people could know things and not know them at the same time. Denial, he said, was like a thick stone wall.

It was only later that I suffocated under the weight of his arguments, and his darker thoughts articulated. It was only later that our tongues produced landslides, that we became caught in the cracks between what we said and what we meant, until we could not find each other, did not trust the words in our own mouths.

Words matter, for Language is an ark. Yes, Language is an art, An articulate artifact. Language is a life craft. Yes, Language is a life raft.

The poet cannot invent new words every time, of course. He uses the words of the tribe. But the handling of the word, the accent, a new articulation, renew them.

The best words not only pinpoint an idea better than any alternative but echo it in their sound and articulation, a phenomenon called phonesthetics, the feeling of sound.

One day you will tell me how to change what I cannot yet describe without my words swelling HUGE, vowels vanishing, tears washing ink away.

Threats is the wrong word,” she said. “But English is a limited language in some ways. There’s really no word to articulate what I mean. A threat with a measure of inevitability to it. A promise? Too feeble. People break promises too often. A curse? A malediction? Too… magical. An oath? The connotations are wrong. When I say I’ll do something, I make it happen.

But when he spoke, that great voice of his poured out of his chest in words like the snowflakes of winter, and then no other mortal could in debate contend with Odysseus. Nor did we care any longer how he looked.

Sometimes a smile, a giggle can say more than words do; words are not that articulate. And if you use words where a smile is enough you will only spoil the game.

The colossal misunderstanding of our time is the assumption that insight will work with people who are unmotivated to change. Communication does not depend on syntax, or eloquence, or rhetoric, or articulation but on the emotional context in which the message is being heard. People can only hear you when they are moving toward you, and they are not likely to when your words are pursuing them. Even the choicest words lose their power when they are used to overpower. Attitudes are the real figures of speech.

What a wee little part of a person's life are his acts and his words! His real life is lead in his head, and is known to none but himself. All day long, and every day, the mill of his brain is grinding, and his thoughts, (which are but the mute articulation of his feelings,) not those other things are his history. His acts and his words are merely the visible thin crust of his world, with its scattered snow summits and its vacant wastes of water-and they are so trifling a part of his bulk! a mere skin enveloping it. The mass of him is hidden-it and its volcanic fires that toss and boil, and never rest, night nor day. These are his life, and they are not written, and cannot be written.

As St. Thomas Aquinas (1225–1274) taught, whatever we say about God is more unlike God than saying nothing. If we do say something, it can only be a pointer toward the Mystery that can never be articulated in words. All that words can do is point in the direction of the Mystery.

I also think you’re overcomplicating this whole thing. I think that even when good, totally normal, completely healthy things happen in your life, like”—she starts articulating her points on her fingers—“your new car, writing poetry, spending an afternoon at AJ’s house, meeting me…” She sits up straighter wearing a big fake grin, then returns to her serious tone. “You seem determined to find a way to make them unhealthy.

For once desire is articulated in words it does not sit still, but displaces, drifting metonymically from one thing to the next. Desire is a product of language and cannot be satisfied with an object.

When the human voice is reduced to being no longer a song, a word, or a cry, but the articulation of the unnamable itself, it is natural that there should be no other sound than the grinding of ice in the polar regions, the light, intermittent crackling of silk in the highest zones of the atmosphere, at the moment when the aurora borealis unfurls its strange, cold spangles. Majesty does not tolerate other eyes than these hard crystals

Why is one compelled to write? To set oneself apart, cocooned, rapt in solitude, despite the wants of others. Virginia Woolf had her room. Proust his shuttered windows. Marguerite Duras her muted house. Dylan Thomas his modest shed. All seeking an emptiness to imbue with words. The words that will penetrate virgin territory, crack unclaimed combinations, articulate the infinite. The words that formed Lolita, The Lover, Our Lady of the Flowers.

The deep roar of the ocean. The break of waves on farther shores that thought can find. The silent thunders of the deep. And from among it, voices calling, and yet not voices, humming trillings, wordlings, and half-articulated songs of thought. Greetings, waves of greetings, sliding back down into the inarticulate, words breaking together. A crash of sorrow on the shores of Earth. Waves of joy on--where? A world indescribably found, indescribably arrived at, indescribably wet, a song of water. A fugue of voices now, clamoring explanations, of a disaster unavertable, a world to be destroyed, a surge of helplessness, a spasm of despair, a dying fall, again the break of words. And then the fling of hope, the finding of a shadow Earth in the implications of enfolded time, submerged dimensions, the pull of parallels, the deep pull, the spin of will, the hurl and split of it, the fight. A new Earth pulled into replacement, the dolphins gone. Then stunningly a single voice, quite clear. "This bowl was brought to you by the Campaign to Save the Humans. We bid you farewell." And then the sound of long, heavy, perfectly gray bodies rolling away into an unknown fathomless deep, quietly giggling.

Years later, as a professor, Martin would try to find the words to articulate the power of togetherness in a world where togetherness had been corrupted -- and to explore the effect of the music, the surprising lengths the people had gone to to hear it and to play it, as evidence that music, and art in general, are basic requirements of the human soul. Not a luxury but a compulsion. He will think of it every time he goes to a museum or a concert or a play with a long line of people waiting to get inside.

On the day he was born, Muhammad was given a unique name—and with it a mission to model positive behavior to inspire others. The great inventors of the Golden Age sought to emulate his success by applying his mindset of blossoming to their own circumstances. Each manifested his methodology in trailblazing innovations that not only reflected their individuality but also transformed the world—precisely the lifetime goal Muhammad’s mother had articulated for her son on her deathbed. Indeed, Aminah’s inspiring last words reverberate beyond six-year- old Muhammad to reach people of all backgrounds across the genera- tions: strive to be a world-changer in your own unique way.

Good communication has just a little to do with eloquence. It's character that makes it more successful. Harsh words nicely articulated are sharp enough to kill your brand!

He even moved like an animal, fluid strength and surety. And all the devil ever wants in exchange, a small voice said warningly, is a soul. Oh, puh-lease, Chloe rebuked herself sternly. He's a man, nothing more. A big, beautiful, sometimes scary man, but that's all. Graceful as a stalking tiger, the big, beautiful, scary man dropped into a crouch on the ground before her, his dark eyes glinting in the shadowy night. They knelt mere inches apart. When he spoke, his words were painstakingly articulated, as if speaking was an immense effort. His words were carefully spaced, tight, coming in rushes, with pauses between. "I will give you. Every. Artifact I own. If you kiss. Me and ask no. Questions." "Huh?" Chloe gaped. "No questions," he hissed. He shook his head violently, as if trying to scatter something from it.

If only I were articulate to paint in the frail medium of words what I see and know and possess incorporated in my consciousness of the mighty driftage of the races in the times before our present written history began!

The grand scheme of a life, maybe (just maybe), is not about knowing or not knowing, choosing or not choosing. Perhaps what is truly known can’t be described or articulated by creativity or logic, science or art — but perhaps it can be described by the most authentic and meaningful combination of the two: poetry: As Robert Frost wrote, a poem 'begins as a lump in the throat, a sense of wrong, a homesickness, a lovesickness. It is never a thought to begin with.' I recommend the following course of action for those who are just beginning their careers or for those like me, who may be reconfiguring midway through: heed the words of Robert Frost. Start with a big, fat lump in your throat, start with a profound sense of wrong, a deep homesickness, or a crazy lovesickness, and run with it.

Writing about the spiritual life is like making prints from negatives...Often it is the dark forest that makes us speak about the open field. Frequently prison makes us think about freedom, hunger helps us to appreciate food, and war gives us words for peace. Not seldom are our vision of the future born out of the sufferings of the present and our hope for others out of our own despair. Only few "happy endings" make us happy but often someone's careful ad honest articulation of the ambiguities, uncertainties, and painful conditions of life gives us new hope. The paradox is indeed that new life is born out of the pains of the old.

When I ask executives to identify their boundaries they can rarely do it. They know they have some, but they cannot put them into words. The simple reality is, if you can’t articulate these to yourself and others, it may be unrealistic to expect other people to respect them or even figure them out.

The front of the cafe was all open glass, and the seating was arranged so that wherever you sat you faced the beach, as if you were there to watch the sea perform a show. As Jane looked around her, she felt that dissatisfied feeling she often experienced when she was somewhere new and lovely. She couldn't quite articulate it except with the words "If only I were here". This little beachside cafe was so exquisite, she longed to really be there -- except, of course, she was there, so it didn't make any sense.

Listen- all that she was then, all that she is now, those gestures, everything I remember but won't or can't articulate anymore, the perfect words that are somehow made imperfect when used to describe her and all that should remain unsaid about her- it is all unsupported by reason. I know that. But that enigmatic calm that attaches itself to people in the presence of reason- it's something from which I haven't been able to take comfort, not reliably, not since her.

And then also, again, still, what are those boundaries, if they’re not baselines, that contain and direct its infinite expansion inward, that make tennis like chess on the run, beautiful and infinitely dense? The true opponent, the enfolding boundary, is the player himself. Always and only the self out there, on court, to be met, fought, brought to the table to hammer out terms. The competing boy on the net’s other side: he is not the foe: he is more the partner in the dance. He is the what is the word excuse or occasion for meeting the self. As you are his occasion. Tennis’s beauty’s infinite roots are self-competitive. You compete with your own limits to transcend the self in imagination and execution. Disappear inside the game: break through limits: transcend: improve: win. Which is why tennis is an essentially tragic enterprise… You seek to vanquish and transcend the limited self whose limits make the game possible in the first place. It is tragic and sad and chaotic and lovely. All life is the same, as citizens of the human State: the animating limits are within, to be killed and mourned, over and over again…Mario thinks hard again. He’s trying to think of how to articulate something like: But then is battling and vanquishing the self the same as destroying yourself? Is that like saying life is pro-death? … And then but so what’s the difference between tennis and suicide, life and death, the game and its own end?

Ben nodded then opened a toothy grin of his own. “Unca Wanwo!” “Hey, little starfighter,” Lando said. “All right,” Leia said. “I’ll let you guys go. Be safe out there.” She blew Han a kiss and waved at the other two. “Say bye, Ben.” “Come back, Dada,” Ben said, articulating each word carefully.

He mouths something so slowly that his snarling lips articulate the sound of each and every letter, but I read them as though his silent words blast as loud as a battle cry. "Kill her!

The Psalms show us what healthy spiritual life looks like. You name everything that's happening inside of you. You give it language and expression, You articulate exactly what the desolation feels like. If you don't drag it up and give it words, then it's buried down in your being somewhere. And it will come out in other ways. Unhealthy, destructive ways. You'll keep it bottled up. And you'll be miserable.

I add: It was then that we lost touch, he and I. These last words are articulated with the least possible affect, as if life is just like that sometimes, you spend time together and then lose touch and life goes on—as if there were no breaks from which you never quite recover.

We're the sons appalled by violence, with no capacity for inflicting physical pain, useless at beating and clubbing, unfit to pulverize even the most deserving enemy, though not necessarily without turbulence, temper, even ferocity. We have teeth as the cannibals do, but they are there, imbedded in our jaws, the better to help us articulate. When we lay waste, when we efface, it isn't with raging fists or ruthless schemes or insane sprawling violence but with our words, our brains, with mentality, with all the stuff that produced the poignant abyss between our fathers and us and that they themselves broke their backs to give us.

The problem with cliches is not that they contain false ideas, but rather that they are superficial articulations of very good ones. The sun is often on fire at sunset and the moon discreet, but if we keep saying this every time we encounter a sun or a moon, we will end up believing that this is the last rather than the first word to be said on the subject. Cliches are detrimental insofar as they inspire us to believe that they adequately describe a situation while merely grazing its surface.

Years ago I asked my friend, the great actress Ruth Gordon, to articulate in a few words the secret to her indomitable, unsinkable spirit. Her reply was a gift that became a mantra for me: “It takes courage. It takes believing in it. It takes work. It takes rising above it. It takes me liking you, and you liking me. It takes the dreaming soul of the human race that wants it to go right. Never stop dreaming. Think about it.

What a powerful word, future. Of all the abstractions we can articulate to ourselves, of all the concepts we have that other animals do not, how extraordinary the ability to consider a time that's never been experienced. And how tragic not to consider it. It galls us, we with such a limited future, to see someone brush it aside as meaningless, when it has an endless capacity for meaning, and an endless number of meanings that can be found within it.

If this constant sliding and hiding of meaning were true of conscious life, then we would of course never be able to speak coherently at all. If the whole of language were present to me when I spoke, then I would not be able to articulate anything at all. The ego, or consciousness, can therefore only work by repressing this turbulent activity, provisionally nailing down words on to meanings. Every now and then a word from the unconscious which I do not want insinuates itself into my discourse, and this is the famous Freudian slip of the tongue or parapraxis. But for Lacan all our discourse is in a sense a slip of the tongue: if the process of language is as slippery and ambiguous as he suggests, we can never mean precisely what we say and never say precisely what we mean. Meaning is always in some sense an approximation, a near-miss, a part-failure, mixing non-sense and non-communication into sense and dialogue.

White feminism is a politics that engages itself with myths such as 'I don't see race'. It is a politics which insists that talking about race fuels racism - thereby denying people of colour the words to articulate our existence. It's a politics that expects people of colour to quietly assimilate into institutionally racist structures without kicking up a fuss. It's a politics where people of colour are never setting the agenda. Instead, they are relegated to constantly reacting to things and frantically playing catch-up. A white-dominated feminist political consensus allows people of colour a place a the table if we're willing to settle for tokenism, but it clamps down if they attempt to create accountability for said consensus - let alone any structural change.

The pursuit of beauty. The word is hard to articulate. As soon as you open your moth, it flies off, like a bird of paradise. Beauty can not be caught, but we are obliged to reach for it. Beauty is not neutral; pursuing it is a political act. Building is a grand act, a gesture toward peace, the opposite of destruction.

Music had stirred him like that. Music had troubled him many times. But music was not articulate. It was not a new world, but rather another chaos, that it created in us. Words! Mere words! How terrible they were! How clear, and vivid, and cruel! One could not escape from them. And yet what a subtle magic there was in them! They seemed to be able to give a plastic form to formless things, and to have a music of their own as sweet as that of viol or of lute. Mere words! Was there anything so real as words?

She understood, I think, that most of what people said was meaningless. That people spoke to fill the silence or pass the time; that, despite our mastery of words and our ability to put them together in infinitely varied ways, most of us struggled to say what we really meant. Maude filtered conversation like a prism filters light. She broke it down so that each phrase could be understood as an articulation of something singular.

English majors want the joy of seeing the world through the eyes of people who—let us admit it—are more sensitive, more articulate, shrewder, sharper, more alive than they themselves are. The experience of merging minds and hearts with Proust or James or Austen makes you see that there is more to the world than you had ever imagined. You see that life is bigger, sweeter, more tragic and intense—more alive with meaning than you had thought. Real reading is reincarnation. There is no other way to put it. It is being born again into a higher form of consciousness than we ourselves possess. When we walk the streets of Manhattan with Walt Whitman or contemplate our hopes for eternity with Emily Dickinson, we are reborn into more ample and generous minds. "Life piled on life / Were all too little," says Tennyson's "Ulysses," and he is right. Given the ragged magnificence of the world, who would wish to live only once? The English major lives many times through the astounding transportive magic of words and the welcoming power of his receptive imagination. The economics major? In all probability he lives but once. If the English major has enough energy and openness of heart, he lives not once but hundreds of times. Not all books are worth being reincarnated into, to be sure—but those that are win Keats's sweet phrase: "a joy forever.

True translation is not a binary affair between two languages but a triangular affair. The third point of the triangle being what lay behind the words of the original text before it was written. True translation demands a return to the pre-verbal. One reads and rereads the words of the original text in order to penetrate through them to reach, to touch, the vision or experience that prompted them. One then gathers up what one has found there and takes this quivering almost wordless “thing” and places it behind the language it needs to be translated into. And now the principal task is to persuade the host language to take in and welcome the “thing” that is waiting to be articulated.

We read off the ancient Hebrew words, with no idea of what they might mean, and the congregation responds with more words that they don't understand either. We are gathered together on a Saturday morning to speak gibberish to each other, and you would think, in these godless times, that the experience would be empty, but somehow it isn't. The five of us, huddled together shoulder to shoulder over the bima, read the words aloud slowly, and the congregation, these old friends and acquaintances and strangers, all respond, and for reasons I can't begin to articulate, it feels like something is actually happening. It's got nothing to do with God or souls, just the palpable sense of goodwill and support emanating in waves from the pews around us, and I can't help but be moved by it. When we reach the end of the page, and the last "amen" has been said, I'm sorry that' it's over. I could stay up here a while longer. And as we step down to make our way back to the pews, a quick survey of the sadness in my family's wet eyes tells me that I'm not the only one who feels that way. I don't feel any closer to my father than I did before, but for a moment there I was comforted, and that's more than I expected.

The proof that the One Stone Solution is political lies in what women feel when they eat 'too much': guilt. Why should guilt be the operative emotion, and female fat be a moral issue articulated with words like good and bad? If our culture's fixation on female fatness of thinness were about sex, it would be a private issue between a woman and her lover; if it were about health, between a woman and herself. Public debate would be far more hysterically focused on male fat than on female, since more men [40 percent] are medically overweight than women [32 percent] and too much fat is far more dangerous for men than for women... ...But female fat is the subject of public passion, and women feel guilty about female fat, because we implicitly recognize that under the myth, women's bodies are not our own but society's, and that thinness is not a private aesthetic, but hunger a social concession exacted by the community.

A good talker is sensitive to expression, to tone and color and inflection in human speech. Because he himself is articulate, he can help others to articulate their half-formulated feelings. His mind fills in the gaps, and he becomes, in Socrates’ words, a kind of midwife for ideas that are struggling to be born.

I couldn’t articulate how the name made me feel. Shawn had meant it to humiliate me, to lock me in time, into an old idea of myself. But far from fixing me in place, that word transported me. Every time he said it—“Hey Nigger, raise the boom” or “Fetch me a level, Nigger”—I returned to the university, to that auditorium, where I had watched human history unfold and wondered at my place in it. The stories of Emmett Till, Rosa Parks and Martin Luther King were called to my mind every time Shawn shouted, “Nigger, move to the next row.” I saw their faces superimposed on every purlin Shawn welded into place that summer, so that by the end of it, I had finally begun to grasp something that should have been immediately apparent: that someone had opposed the great march toward equality; someone had been the person from whom freedom had to be wrested. I did not think of my brother as that person; I doubt I will ever think of him that way. But something had shifted nonetheless. I had started on a path of awareness, had perceived something elemental about my brother, my father, myself. I had discerned the ways in which we had been sculpted by a tradition given to us by others, a tradition of which we were either willfully or accidentally ignorant. I had begun to understand that we had lent our voices to a discourse whose sole purpose was to dehumanize and brutalize others—because nurturing that discourse was easier, because retaining power always feels like the way forward.

As Jane looked around her, she felt that dissatisfied feeling she often experienced when she was somewhere new and lovely. She couldn't quite articulate it except with the words "if only I were here". This little beachside cafe was so exquisite, she longed to really be there—except, of course, she was there, so it didn't make sense.

The assignment was a two-page essay, in Greek, on any epigram of Callimachus that we chose. I'd done only a page and I started to hurry through the rest in impatient and slightly dishonest fashion, writing out the English and translating word by word. It was something Julian asked us not to do. The value of Greek prose composition, he said, was not that it gave one any particular facility in the language that could not be gained as easily by other methods but that if done properly, off the top of one's head, it taught one to think in Greek. One's thought patterns become different, he said, when forced into the confines of a rigid and unfamiliar tongue. Certain common ideas become inexpressible; other, previously undreamt-of ones spring to life, finding miraculous new articulation.

I want to tell A Story, Every Story, everything all at once, not anything in particular that might be said through the words I know, and I try to roll all sounds into one, to accumulate more and more syllables, as if they might make a Möbius strip of language in which everything, everything is contained. There is a hidden rule even in this game, though - that the sounds have to resemble real syllables, that they can't disintegrate into brute noise, for then I wouldn't be talking at all. I want articulation - but articulation that says the whole world at once.

Good.” He drank in her nakedness, fervent as a man downing ale after three days in the desert. His eyes, gleaming with unholy intention, came to rest on hers. “Now fuck me.” The command knocked her back like a handful of dust in the face. But only for a moment. He was the one tied up. She folded her arms again. “If you want my cooperation you had better address me more politely than that.” “Fuck me.” Like the world’s wickedest elocution pupil he articulated the words, lips and tongue and teeth put to such nefarious use. “Fuck me until I thrash and shout beneath you.

But there is one key ingredient that my wife has helped me to recognize over the years, and that is the importance of articulating love for one another on a daily basis. The words I love you, spoken in acknowledgment in the morning upon rising and before going to bed, or when sitting down to dine, make the most beautiful music recognized by human ears.

What, exactly, is Pope Francis’s message? In a sentence, his message is: “God is love” (1 John 4:8). Love is the energy at the heart of the universe. Love created the world, love sustains the world, and love unites the world. In God’s great heart, the heart that beats at the center of the universe, we are all connected, we are all one. More personally, the hope that Pope Francis articulates every day is that you will encounter the tender and transforming love of Jesus Christ.

While much has been written about the aggressive manifestations of male sexuality, it is not sufficiently appreciated that the erotic realm also offers men a restorative experience for their more tender side. The body is our original mother tongue, and for a lot of men it remains the only language of closeness that hasn't been spoiled. Through sex, men can recapture the pure pleasure of connection without having to compress their hard-to-articulate needs into the prison of words.

By making your counterparts articulate implementation in their own words, your carefully calibrated “How” questions will convince them that the final solution is their idea. And that’s crucial. People always make more effort to implement a solution when they think it’s theirs. That is simply human nature. That’s why negotiation is often called “the art of letting someone else have your way.

I’m not sure it is possible to articulate grief through language. You can say, I was so sad I thought my bones would collapse. I thought I would die. But language always falls short of the body when it comes to the intensity of corporeal experience. The best we can do is bring language in relationship to corporeal experience-bring words close to the body-as close as possible. Close enough to shatter them. Or close enough to knock a body out. To bring language close to the intensity of experiences like love or death or grief or pain is to push on the affect of language. Its sounds and grunts and ecstatic noises. The ritual sense of language. Or the cry.

The more clearly we are able to express ourselves, the less room there is for ambiguity. The more elaborate and the more precise our vocabulary, the greater the scope for thought and expression. Language is about subtlety and nuance. It is power and it is potent. We can woo with words and we can wound. Despots fear the words of the articulate opponent. Successful revolutions are achieved with words as much as with weapons.

The value of Greek prose composition, he said, was not that it gave one any particular facility in the language that could not be gained as easily by other methods but that if done properly, off the top of one's head, it taught one to think in Greek. One's thought patterns become different, he said, when forced into the confines of a rigid and unfamiliar tongue. Certain common ideas become inexpressible; other, previously undreamt-of ones spring to life, finding miraculous new articulation. By necessity, I suppose, it is difficult for me to explain in English exactly what I mean. I can only say that an incendium is in its nature entirely different from the feu with which a Frenchman lights his cigarette, and both are very different from the stark, inhuman pur that the Greeks knew, the pur that roared from the towers of Ilion or leapt and screamed on that desolate, windy beach, from the funeral pyre of Patroklos. Pur: that one word contains for me the secret, the bright, terrible clarity of ancient Greek. How can I make you see it, this strange harsh light which pervades Homer's landscapes and illumines the dialogues of Plato, an alien light, inarticulable in our common tongue? Our shared language is a language of the intricate, the peculiar, the home of pumpkins and ragamuffins and bodkins and beer, the tongue of Ahab and Falstaff and Mrs. Gamp; and while I find it entirely suitable for reflections such as these, it fails me utterly when I attempt to describe in it what I love about Greek, that language innocent of all quirks and cranks; a language obsessed with action, and with the joy of seeing action multiply from action, action marching relentlessly ahead and with yet more actions filing in from either side to fall into neat step at the rear, in a long straight rank of cause and effect toward what will be inevitable, the only possible end. In a certain sense, this was why I felt so close to the other in the Greek class. They, too, knew this beautiful and harrowing landscape, centuries dead; they'd had the same experience of looking up from their books with fifth-century eyes and finding the world disconcertingly sluggish and alien, as if it were not their home. It was why I admired Julian, and Henry in particular. Their reason, their very eyes and ears were fixed irrevocably in the confines of those stern and ancient rhythms – the world, in fact, was not their home, at least the world as I knew it – and far from being occasional visitors to this land which I myself knew only as an admiring tourist, they were pretty much its permanent residents, as permanent as I suppose it was possible for them to be. Ancient Greek is a difficult language, a very difficult language indeed, and it is eminently possible to study it all one's life and never be able to speak a word; but it makes me smile, even today, to think of Henry's calculated, formal English, the English of a well-educated foreigner, as compared with the marvelous fluency and self-assurance of his Greek – quick, eloquent, remarkably witty. It was always a wonder to me when I happened to hear him and Julian conversing in Greek, arguing and joking, as I never once heard either of them do in English; many times, I've seen Henry pick up the telephone with an irritable, cautious 'Hello,' and may I never forget the harsh and irresistible delight of his 'Khairei!' when Julian happened to be at the other end.

What is writing? It’s me, the author, taking the state inside my mind and, via the gift of language, grafting it onto yours. But man invented language in order to better deceive, not inform. That state I’m transmitting is often a false one, but you judge it not by the depth of its emotion in my mind, but by the beauty and pungency of the thought in yours. Thus the best deceivers are called articulate, as they make listeners and readers fall in love with the thoughts projected into their heads. It’s the essential step in getting men to write you large checks, women to take off their clothes, and the crowd to read and repeat what you’ve thought. All with mere words: memes of meaning strung together according to grammar and good taste. Astonishing when you think about it.

Recalling, some time later, what I had felt at the time, I distinguished the impression of having been held for a moment in her mouth, myself, naked, without any of the social attributes which belonged equally to her other playmates and, when she used my surname, to my parents, accessories of which her lips - by the effort she made, a little after her father's manner, to articulate the words to which she wished to give a special emphasis - had the air of stripping, of divesting me, like the skin from a fruit of which one can swallow only the pulp, while her glance, adapting itself to the same new degree of intimacy as her speech, fell on me also more directly and testified to the consciousness, the pleasure, even the gratitude that it felt by accompanying itself with a smile.

Her eyes are grey. Her hair is straggly and wet. Her fingers are stubby. The nails are chewed and broken. Her teeth are crooked, jagged things. There is a vacancy in her gaze, a feeling of absence when you are near her that is impossible to put into words. Her sigil is the hooked ring. One day her hook will catch your heart. Describing her, we articulate what she is and why she is: when hope is past, she is there. She is in a thousand thousand waiting rooms and empty streets, in grey concrete buildings and anonymous hotels. She is on the other side of every mirror. When the eyes that look back at you know you too well, and no longer care for what they see, they are her eyes. She stands and waits, and in her posture the pain no longer tells you to live, and in her presence joy is unimaginable.

When a man loves you, you will know. You will know it not by the expensive gifts he buys you or thousand times he articulates those three magical words. You will know by the sense of certain knowing, a sense that makes your bones tickle at the mere thought of him. You will know when you don't need to check on him after every another hour through calls or text messages. You will know when you don't have to stalk him on Facebook or last seen status on whats app. You will know when you can feel his laughter seeping through your soul as he hears your voice. You will know when he does not make loud promises but is there to hold your hand when things go wrong. You will know he loves you when either of you don't know what the future holds but still somehow you know you are always together. You will know when a man loves you..by the way he looks at you when you are shabbily dressed or when he discovers that first or second streak of grey hair. You will know..by the way he treats you on special days and ordinary ones...you will know when a man loves you. It is different from your rosy teenage dreams or romantic tales of SRK movies...when a man loves you, you may not hear any bells ringing in your heart, you may not get to pluck the rose buds to know if he is into you or not..when a man loves you, you will know by the way he says your name.

At the time of the October Revolution, the Russian intellectual elite had been both a part and a partner to the European conversation about God, power, and human life. After fifty years of purges, arrests, and, most damaging, unrelenting pressure on what had become an isolated thought universe, the Russian intellectual landscape was populated by barely articulated ghosts of once vibrant ideas. Even Communist ideology was a shadow of its former self, a set of ritually repeated words that had lost all meaning.

When I wept at his funeral, it was not because of my own loss. You carry a man like Amos with you, a memory of immortal rose in the garden of the human ego. No, I cried because my children would never know him and I knew that I was not articulate enough in any language to describe the perfect solitude and perfect charity of a man who believed and lived every simple word of the book he sold door to door the length and breadth of the American South. The only word for goodness is goodness, and it is not enough.

The reader tries to uncover the skeleton that the book conceals. The author starts with the skeleton and tries to cover it up. His aim is to conceal the skeleton artistically or, in other words, to put flesh on the bare bones. If he is a good writer, he does not bury a puny skeleton under a mass of fat; on the other hand, neither should the flesh be too thin, so that the bones show through. If the flesh is thick enough, and if the flabbiness is avoided, the joints will be detectable and the motion of the parts will reveal the articulation.

During the last ten years of his life my father gradually lost the power of speech. At first he simply had trouble calling up certain words or would say similar words instead and then immediately laugh at himself. In the end he had only a handful of words left, and all his attempts at saying anything more substantial resulted in one of the last sentences he could articulate: 'That's strange.' Whenever he said 'That's strange,' his eyes would express an infinite astonishment at knowing everything and being able to say nothing. Things lost their names and merged into a single, undifferentiated reality. I was the only one who by talking to him could temporarily transform that nameless infinity into the world of clearly named entities.

These students of mine, like the rest of their generation, were different from mine in one fundamental aspect. My generation complained of a loss, the void in our lives that was created when our past was stolen from us, making us exile in our own country. Yet we had a past to compare with the present; we had memories and images of what had been taken away. But my girls spoke constantly of stolen kisses, films they had never seen and the wind they had never felt on their skin. This generation had no past. Their memory was of a half-articulated desire, something they had never had. It was this lack, their sense of longing for the ordinary, taken-for-granted aspects of life, that gave their words a certain luminous quality akin to poetry.

They say marry the person with whom you are the closest to, the guy with whom you can share your 3 am thoughts with, sitting on a rooftop and discussing random things like why cavemen were hirsute or why the earth isn’t a square. The genie who knows what you want before you open your mouth. The angel who reads your mind before you can articulate your thoughts. The friend you can laugh and cry with. The brother whose arms are safer than any amount of security and protection the outside world can provide you. The parent that will support you through thick and thin, no matter what. The soul whose love for them in the river of your heart will never dilute, even when the currents get rough, and the waters, dark. The fellow who would tell you that he loves you every night and spend the day proving it through little gestures that speak much louder than any words of love. The person with whom you can hold hands when you turn eighty and announce to the world- ‘we made it!

Because this painting has never been restored there is a heightened poignance to it somehow; it doesn’t have the feeling of unassailable permanence that paintings in museums do. There is a small crack in the lower left, and a little of the priming between the wooden panel and the oil emulsions of paint has been bared. A bit of abrasion shows, at the rim of a bowl of berries, evidence of time’s power even over this—which, paradoxically, only seems to increase its poetry, its deep resonance. If you could see the notes of a cello, when the bow draws slowly and deeply across its strings, and those resonant reverberations which of all instruments’ are nearest to the sound of the human voice emerge—no, the wrong verb, they seem to come into being all at once, to surround us, suddenly, with presence—if that were made visible, that would be the poetry of Osias Beert. But the still life resides in absolute silence. Portraits often seem pregnant with speech, or as if their subjects have just finished saying something, or will soon speak the thoughts that inform their faces, the thoughts we’re invited to read. Landscapes are full of presences, visible or unseen; soon nymphs or a stag or a band of hikers will make themselves heard. But no word will ever be spoken here, among the flowers and snails, the solid and dependable apples, this heap of rumpled books, this pewter plate on which a few opened oysters lie, giving up their silver. These are resolutely still, immutable, poised for a forward movement that will never occur. The brink upon which still life rests is the brink of time, the edge of something about to happen. Everything that we know crosses this lip, over and over, like water over the edge of a fall, as what might happen does, as any of the endless variations of what might come true does so, and things fall into being, tumble through the progression of existing in time. Painting creates silence. You could examine the objects themselves, the actors in a Dutch still life—this knobbed beaker, this pewter salver, this knife—and, lovely as all antique utilitarian objects are, they are not, would not be, poised on the edge these same things inhabit when they are represented. These things exist—if indeed they are still around at all—in time. It is the act of painting them that makes them perennially poised, an emergent truth about to be articulated, a word waiting to be spoken. Single word that has been forming all these years in the light on the knife’s pearl handle, in the drops of moisture on nearly translucent grapes: At the end of time, will that word be said?

So much of masculine identity is predicated on self-control and invulnerability. Yet I have also observed that these very restrictions lead many men to other venues of self-expression. In the absence of a more developed verbal narrative of the self, the body becomes a vital language, a conduit for emotional intimacy. While much has been written about the aggressive manifestations of male sexuality, it is not sufficiently appreciated that the erotic realm also offers men a restorative experience for their more tender side. The body is our original mother tongue, and for a lot of men it remains the only language for closeness that hasn’t been spoiled. Through sex, men can recapture the pure pleasure of connection without having to compress their hard-to-articulate needs into the prison of words.

All things have the capacity for speech -- all beings have the ability to communicate something of themselves to other beings. Indeed, what is perception if not the experience of this gregarious, communicative power of things, wherein even obstensibly 'inert' objects radiate out of themselves, conveying their shapes, hues, and rhythms to other beings and to us, influencing and informing our breathing bodies though we stand far apart from those things? Not just animals and plants, then, but tumbling waterfalls and dry riverbeds, gusts of wind, compost piles and cumulus clouds, freshly painted houses (as well as houses abandoned and sometimes haunted), rusting automobiles, feathers, granite cliffs and grains of sand, tax forms, dormant volcanoes, bays and bayous made wretched by pollutants, snowdrifts, shed antlers, diamonds, and daikon radishes, all are expressive, sometimes eloquent and hence participant in the mystery of language. Our own chatter erupts in response to the abundant articulations of the world: human speech is simply our part of a much broader conversation. It follows that the myriad things are also listening, or attending, to various signs and gestures around them. Indeed, when we are at ease in our animal flesh, we will sometimes feel we are being listened to, or sensed, by the earthly surroundings. And so we take deeper care with our speaking, mindful that our sounds may carry more than a merely human meaning and resonance. This care -- this full-bodied alertness -- is the ancient, ancestral source of all word magic. It is the practice of attention to the uncanny power that lives in our spoken phrases to touch and sometimes transform the tenor of the world's unfolding.

Filth, filth, filth, from morning to night. I know they're poor but they could wash. Water is free and soap is cheap. Just look at that arm, nurse.' The nurse looked and clucked in horror. Francie stood there with the hot flamepoints of shame burning her face. The doctor was a Harvard man, interning at the neighborhood hospital. Once a week, he was obliged to put in a few hours at one of the free clinics. He was going into a smart practice in Boston when his internship was over. Adopting the phraseology of the neighborhood, he referred to his Brooklyn internship as going through Purgatory, when he wrote to his socially prominent fiancee in Boston. The nurse was as Williamsburg girl... The child of poor Polish immigrants, she had been ambitious, worked days in a sweatshop and gone to school at night. Somehow she had gotten her training... She didn't want anyone to know she had come from the slums. After the doctor's outburst, Francie stood hanging her head. She was a dirty girl. That's what the doctor meant. He was talking more quietly now asking the nurse how that kind of people could survive; that it would be a better world if they were all sterilized and couldn't breed anymore. Did that mean he wanted her to die? Would he do something to make her die because her hands and arms were dirty from the mud pies? She looked at the nurse... She thought the nurse might say something like: Maybe this little girl's mother works and didn't have time to wash her good this morning,' or, 'You know how it is, Doctor, children will play in the dirt.' But what the nurse actuallly said was, 'I know, Isn't it terrible? I sympathize with you, Doctor. There is no excuse for these people living in filth.' A person who pulls himself up from a low environment via the bootstrap route has two choices. Having risen above his environment, he can forget it; or, he can rise above it and never forget it and keep compassion and understanding in his heart for those he has left behind him in the cruel upclimb. The nurse had chosen the forgetting way. Yet, as she stood there, she knew that years later she would be haunted by the sorrow in the face of that starveling child and that she would wish bitterly that she had said a comforting word then and done something towards the saving of her immortal soul. She had the knowledge that she was small but she lacked the courage to be otherwise. When the needle jabbed, Francie never felt it. The waves of hurt started by the doctor's words were racking her body and drove out all other feeling. While the nurse was expertly tying a strip of gauze around her arm and the doctor was putting his instrument in the sterilizer and taking out a fresh needle, Francie spoke up. My brother is next. His arm is just as dirty as mine so don't be suprised. And you don't have to tell him. You told me.' They stared at this bit of humanity who had become so strangely articulate. Francie's voice went ragged with a sob. 'You don't have to tell him. Besides it won't do no godd. He's a boy and he don't care if he is dirty.'... As the door closed, she heard the doctor's suprised voice. I had no idea she'd understand what I was saying.' She heard the nurse say, 'Oh, well,' on a sighing note.

So, Logan thought. This is the girl. At last he had her in his grasp. Madeline Eloise Gracechurch. In her own words, the greatest ninny to ever draw breath in England. The lass wasn't in England now. And pale as she'd grown in the past few seconds, he suspected she might not be breathing, either. He gave her hand a little squeeze, and she drew in a gasp. Color flooded her cheeks. There, that was better. To be truthful, Logan needed a moment to locate his own composure. She'd knocked the breath from him, too. He'd spent a great deal of time wondering how she looked. Too much time over the years. Of course she'd sent him sketches of every blessed mushroom, moth, and blossom in existence-but never any likeness of herself. By the gods, she was bonny. Far prettier than her letters had led him to imagine. Also smaller, more delicate. "So..." she said, "this means...you...I...gack." Much less articulate, too. -Logan's thoughts & Maddie

I said that I too sometimes did not understand what I saw in galleries, or read in books. Though I understood the pressure of feeling like you had to have a view or opinion, especially one that you could articulate clearly, which usually only came with a certain education. This, I said, allowed you to speak of history and context, and was in many ways like a foreign language. For a long time, I had believed in this language, and I had done my best to become fluent in it. But I said that sometimes, increasingly often in fact, I was beginning to feel like this kind of response too was false, a performance, and not the one I had been looking for. Sometimes, I looked at a painting, and felt completely nothing. Or if I had a feeling, it was only intuitive, a reaction, nothing that could be expressed in words. It was all right, I said, to simply say if that was so. The main thing was to be open, to listen, to know when and when not to speak.

However opinionated, perhaps even high-handed his presentations were, he was unquestionably an ingenious man--that was evident in the stimulating, thought-provoking effect his words had on a highly gifted young mind like Adri Leverkühn's. What had chiefly impressed him, as he revealed on the way home and the following day in the schoolyard, was the distinction Kretzschmar had made between cultic and cultural epochs and his observation that the secularization of art, its separation from worship, was of only a superficial and episodic nature. The high-school sophomore was manifestly moved by an idea that the lecturer had not even articulated, but that had caught fire in him:: that the separation of art from any liturgical context, its liberation and elevation to the isolated and personal, to culture for culture's sake, had burdened it with a solemnity without any point of reference, an absolute seriousness, a pathos of suffering epitomized in Beethoven's terrible appearance in the doorway--but that did not have to be its abiding destiny, its perpetual state of mind. Just listen to the young man! With almost no real, practical experience in the field of art, he was fantasizing in a void and in precocious words about art's apparently imminent retreat from its present-day role to a happier, more modest one in the service of a higher fellowship, which did not have to be, as at one time, the Church. What it would be, he could not say.

It seems to me, therefore, that the instinctive although seldom articulated purpose of holding a funeral or memorial service is to reunite the people most intimate with the deceased, and to collectively rekindle in them all, for one last time, the special living flame that represents the essence of that beloved person, profiting directly or indirectly from the presence of one another, feeling the presence of that person in the brains that remain, and thus solidifying to the maximal extent possible those secondary personal gemmae that remain aflicker in all these different brains. Though the primary brain has been eclipsed, there is, in those who remain and who are gathered to remember and reactivate the spirit of the departed, a collective corona that still glows. This is what human love means. The word "love" cannot, thus, be separated from the word "I"; the more deeply rooted the symbol for someone inside you, the greater the love, the brighter the light that remains behind.

Frosh (2002) has suggested that therapeutic spaces provide children and adults with the rare opportunity to articulate experiences that are otherwise excluded from the dominant symbolic order. However, since the 1990s, post-modern and post-structural theory has often been deployed in ways that attempt to ‘manage’ from; afar the perturbing disclosures of abuse and trauma that arise in therapeutic spaces (Frosh 2002). Nowhere is this clearer than in relation to organised abuse, where the testimony of girls and women has been deconstructed as symptoms of cultural hysteria (Showalter 1997) and the colonisation of women’s minds by therapeutic discourse (Hacking 1995). However, behind words and discourse, ‘a real world and real lives do exist, howsoever we interpret, construct and recycle accounts of these by a variety of symbolic means’ (Stanley 1993: 214). Summit (1994: 5) once described organised abuse as a ‘subject of smoke and mirrors’, observing the ways in which it has persistently defied conceptualisation or explanation. Explanations for serious or sadistic child sex offending have typically rested on psychiatric concepts of ‘paedophilia’ or particular psychological categories that have limited utility for the study of the cultures of sexual abuse that emerge in the families or institutions in which organised abuse takes pace. For those clinicians and researchers who take organised abuse seriously, their reliance upon individualistic rather than sociological explanations for child sexual abuse has left them unable to explain the emergence of coordinated, and often sadistic, multi—perpetrator sexual abuse in a range of contexts around the world.

What is time? Who can explain this easily and briefly? Who can comprehend this even in thought so as to articulate the answer in words? Yet what do we speak of, in our familiar everyday conversation, more than of time? We surely know what we mean when we speak of it. We also know what is meant when we hear someone else talking about it. What then is time? Provided that no one asks me, I know. If I want to explain it to an inquirer, I do not know. But I confidently affirm myself to know that if nothing passes away, there is no past time, and if nothing arrives, there is no future time, and if nothing existed there would be no present time. Take the two tenses, past and future. How can they 'be' when the past is not now present and the future is not yet present? Yet if the present were always present, it would not pass into the past: it would not be time but eternity. If then, in order to be time at all, the present is so made that it passes into the past, how can we say that this present also 'is'? The cause of its being is that it will cease to be. So indeed we cannot truly say that time exists except in the sense that it tends toward non-existence.

So the question is, what can I do to motivate you, Polly?” She eyes me salaciously and I drop my gaze, unable to return the intensity. Gently, she uses one finger to lift my chin and make my eyes meet her own. They are a vivid blue and alive with desire for me. The air around us is charged and the tension is palpable. My soaking pussy is a testament to how much I already want her… “Well?” she asks, breaking my train of thought. I gaze at her face; just a few inches from mine. “I – I’ve never done this before…” “Done what Polly?” Rachel chides, removing her finger. I miss the contact immediately and am rueful to have upset her. She raises one eyebrow at me. “Thought about what motivates you?” she asks, sardonically. “I’ve never been like this… with a woman, I mean…” She rises from the sofa in one fluid movement and stands above me. “Kneel Polly.” Surprised by the order, I blink at her before I respond. “Excuse me?” Rachel smiles at me. “Get. On. Your. Knees,” she says, articulating each word, and pointing to the floor in front of her. “I am going to find a way to motivate you.

It's like any time a white friend suggests Korean barbecue. Or when I see a Food Network special where some tattooed white dude with a nineteenth-century-looking beard-and-mustache combo introduces viewers to this kimchi al pastor bánh mì monstrosity he peddles from a food truck that sends out location tweets. It's like when white people tell me how much they love kimchee and bull-go-ghee, and the words just roll off their tongues as if there exists nothing irreconcilable between the two languages. It's like, don't touch my shit. It's difficult to articulate because I know it's not rational. But as a bilingual immigrant from Korea, as someone who code-switches between Korean and English daily while running errands or going to the supermarket, not to mention the second-nature combination of the languages that I'll speak with my parents and siblings, switching on and switching off these at times unfeasibly different sounds, dialects, grammatical structures? It's fucking irritating. I don't want to be stingy about who gets to enjoy all these fermented wonders -- I'm glad the stigma around our stinky wares is dissolving away. But when my husband brings me a plate of food he made out of guesswork with a list of ingredients I've curated over the years of my burgeoning adulthood with the implicit help of my mother, my grandmother, and my grandmother's mother who taught me the patience of peeling dozens of garlic cloves in a sitting with bare hands, it puts me in snap-me-pff-a-hickory-switch mode.

It is the question of "common world". The meaning of this world is not solipsism world, the world of "ego", but the world which can be actualize by my consciousness – according to relation of “ego” and caring for another in everyday life. To care for another means one lets go of self-consciousness and self-awareness and relates. We should consider human is constructed directly in term of their own consciousness and not by contrasting that consciousness with a reality independent of them, on the other hand it is constructed separate of his consciousness. So, we should surely consider the relation of human and the world. It seems that what can link these levels is “life-world” which means the idea of releasing human from worldlessness. Life-world as general sphere of individual experience in the world around (including other persons, objects and events) is a real and concrete phenomenon which has root in everyday life for obtaining its living practical purposes and objectively, considered as the basis of knowledge, interests, benefits and common links between humans. In the realm of life-world, transcendence and consciousness link to individual and group relationship and everyday life. For Heidegger consciousness proceeds from understanding, and this understanding is predicated upon our dealings in the world. Consciousness does not belong to the world. It has a practical relationship with it. What is within consciousness is the exact meaning of the word nothing. Consciousness is nothing but an opening to what they are and can only be talked about in this sense. Consciousness is the relationship we experience in praxis. As for a footballer, bodybuilding and fitness is nothing but the relationship he experiences in act, the day of the race and the subsequent races. Therefore, in this meaning, world without consciousness, intersubjectivity relationships -Alfred Schutz calls this quality as we- pure relation- and everyday life is not imaginable. Because of this matter we can't talk about the world without considering the roles of above items. "As Husserl articulated the life-world can be said to include the world of science and action can’t be without world." Even Architecture is not separate from these issues as the communicative. A part of Professor Pezhman Mosleh speech, “Music, Anti-war, a way to Discourse” Istanbul 2016

When he was in college, a famous poet made a useful distinction for him. He had drunk enough in the poet's company to be compelled to describe to him a poem he was thinking of. It would be a monologue of sorts, the self-contemplation of a student on a summer afternoon who is reading Euphues. The poem itself would be a subtle series of euphuisms, translating the heat, the day, the student's concerns, into symmetrical posies; translating even his contempt and boredom with that famously foolish book into a euphuism. The poet nodded his big head in a sympathetic, rhythmic way as this was explained to him, then told him that there are two kinds of poems. There is the kind you write; there is the kind you talk about in bars. Both kinds have value and both are poems; but it's fatal to confuse them. In the Seventh Saint, many years later, it had struck him that the difference between himself and Shakespeare wasn't talent - not especially - but nerve. The capacity not to be frightened by his largest and most potent conceptions, to simply (simply!) sit down and execute them. The dreadful lassitude he felt when something really large and multifarious came suddenly clear to him, something Lear-sized yet sonnet-precise. If only they didn't rush on him whole, all at once, massive and perfect, leaving him frightened and nerveless at the prospect of articulating them word by scene by page. He would try to believe they were of the kind told in bars, not the kind to be written, though there was no way to be sure of this except to attempt the writing; he would raise a finger (the novelist in the bar mirror raising the obverse finger) and push forward his change. Wailing like a neglected ghost, the vast notion would beat its wings into the void. Sometimes it would pursue him for days and years as he fled desperately. Sometimes he would turn to face it, and do battle. Once, twice, he had been victorious, objectively at least. Out of an immense concatenation of feeling, thought, word, transcendent meaning had come his first novel, a slim, pageant of a book, tombstone for his slain conception. A publisher had taken it, gingerly; had slipped it quietly into the deep pool of spring releases, where it sank without a ripple, and where he supposes it lies still, its calm Bodoni gone long since green. A second, just as slim but more lurid, nightmarish even, about imaginary murders in an imaginary exotic locale, had been sold for a movie, though the movie had never been made. He felt guilt for the producer's failure (which perhaps the producer didn't feel), having known the book could not be filmed; he had made a large sum, enough to finance years of this kind of thing, on a book whose first printing was largely returned.

Katie stood alone... 'They think this is so good,' he thought. 'They think it's good- the tree they got for nothing and their father playing up to them and the singing and the way the neighbors are happy. They think they're mighty lucky that they're living and it's Christmas again. They can't see that we live on a dirty street in a dirty house among people who aren't much good. Johnny and the children can't see how pitiful it is that our neighbors have to make happiness out of this filth and dirt. My children must get out of this. They must come to more than Johnnny or me or all thse people around us. But how is this to come about? Reading a page from those books every day and saving pennies in the tin-can bank isn't enough. Money! Would that make it better for them? Yes, it would make it easy. But no, the money wouldn't be enough. McGarrity owns the saloon standing on the corner and he has a lot of money. His wife wears diamond earrings. But her children are not as good and smart as my children. They are mean and greedy towards others...Ah no, it isn't the money alone... That means there must be something bigger than money. Miss Jackson teaches... and she has no money. She works for charity. She lives in a little room there on the top floor. She only has the one dress but she keeps it clean and pressed. Her eyes look straight into yours when you talk to her... She understands about things. She can live in the middle of a dirty neighborhood and be fine and clean like an actress in a play; someone you can look at but is too fine to touch... So what is this difference between her and this Miss Jackson who has no money?... Education! That was it!...Education would pull them out of the grime and dirt. Proof? Miss Jackson was educated, the McGarrity wasn't. Ah! That's what Mary Rommely, her mother, had been telling her all those years. Only her mother did not have the one clear word: education!... 'Francie is smart...She's a learner and she'll be somebody someday. But when she gets educated, she will grow away from me. Why, she's growing away from me now. She does not love me the way the boy loves me. I feel her turn away from me now. She does not understand me. All she understands is that I don't understand her. Maybe when she gets education, she will be ashamed of me- the way I talk. but she will have too much character to show it. Instead she will try to make me different. She will come to see me and try to make me live in a better way and I will be mean to her because I'll know she's above me. She will figure out too much about things as she grows older; she'll get to know too much for her own happiness. She'll find out that I don't love her as much as I love the boy. I cannot help that this is so. But she won't understand that. Somethimes I think she knows that now. Already she is growing away from me; she will fight to get away soon. Changing over to that far-away school was the first step in her getting away from me. But Neeley will never leave me, that is why I love him best. He will cling to me and understand me... There is music in him. He got that from his father. He has gone further on the piano than Francie or me. Yes, his father has the music in him but it does him no good. It is ruining him... With the boy, it will be different. He'll be educated. I must think out ways. We'll not have Johnnny with us long. Dear God, I loved him so much once- and sometimes I still do. But he's worthless...worthless. And God forgive me for ever finding out.' Thus Katie figured out everything in the moments it took them to climb the stairs. People looking up at her- at her smooth pretty vivacious face- had no way of knowing about the painfully articulated resolves formulating hin her mind.

There was a small public library on Ninety-third and Hooper. Mrs. Stella Keaton was the librarian. We’d known each other for years. She was a white lady from Wisconsin. Her husband had a fatal heart attack in ’34 and her two children died in a fire the year after that. Her only living relative had been an older brother who was stationed in San Diego with the navy for ten years. After his discharge he moved to L.A. When Mrs. Keaton had her tragedies he invited her to live with him. One year after that her brother, Horton, took ill, and after three months he died spitting up blood, in her arms. All Mrs. Keaton had was the Ninety-third Street branch. She treated the people who came in there like her siblings and she treated the children like her own. If you were a regular at the library she’d bake you a cake on your birthday and save the books you loved under the front desk. We were on a first-name basis, Stella and I, but I was unhappy that she held that job. I was unhappy because even though Stella was nice, she was still a white woman. A white woman from a place where there were only white Christians. To her Shakespeare was a god. I didn’t mind that, but what did she know about the folk tales and riddles and stories colored folks had been telling for centuries? What did she know about the language we spoke? I always heard her correcting children’s speech. “Not ‘I is,’ she’d say. “It’s ‘I am.’” And, of course, she was right. It’s just that little colored children listening to that proper white woman would never hear their own cadence in her words. They’d come to believe that they would have to abandon their own language and stories to become a part of her educated world. They would have to forfeit Waller for Mozart and Remus for Puck. They would enter a world where only white people spoke. And no matter how articulate Dickens and Voltaire were, those children wouldn’t have their own examples in the house of learning—the library.

Among the people to whom he belonged, nothing was written or talked about at that time except the Serbian war. Everything that the idle crowd usually does to kill time, it now did for the benefit of the Slavs: balls, concerts, dinners, speeches, ladies' dresses, beer, restaurants—all bore witness to our sympathy with the Slavs. With much that was spoken and written on the subject Konyshev did not agree in detail. He saw that the Slav question had become one of those fashionable diversions which, ever succeeding one another, serve to occupy Society; he saw that too many people took up the question from interested motives. He admitted that the papers published much that was unnecessary and exaggerated with the sole aim of drawing attention to themselves, each outcrying the other. He saw that amid this general elation in Society those who were unsuccessful or discontented leapt to the front and shouted louder than anyone else: Commanders-in-Chief without armies, Ministers without portfolios, journalists without papers, and party leaders without followers. He saw that there was much that was frivolous and ridiculous; but he also saw and admitted the unquestionable and ever-growing enthusiasm which was uniting all classes of society, and with which one could not help sympathizing. The massacre of our coreligionists and brother Slavs evoked sympathy for the sufferers and indignation against their oppressors. And the heroism of the Serbs and Montenegrins, fighting for a great cause, aroused in the whole nation a desire to help their brothers not only with words but by deeds. Also there was an accompanying fact that pleased Koznyshev. It was the manifestation of public opinion. The nation had definitely expressed its wishes. As Koznyshev put it, ' the soul of the nation had become articulate.' The more he went into this question, the clearer it seemed to him that it was a matter which would attain enormous proportions and become epoch-making.

And if I was seen as temperamentally cool and collected, measured in how I used my words, Joe was all warmth, a man without inhibitions, happy to share whatever popped into his head. It was an endearing trait, for he genuinely enjoyed people. You could see it as he worked a room, his handsome face always cast in a dazzling smile (and just inches from whomever he was talking to), asking a person where they were from, telling them a story about how much he loved their hometown (“Best calzone I ever tasted”) or how they must know so-and-so (“An absolutely great guy, salt of the earth”), flattering their children (“Anyone ever tell you you’re gorgeous?”) or their mother (“You can’t be a day over forty!”), and then on to the next person, and the next, until he’d touched every soul in the room with a flurry of handshakes, hugs, kisses, backslaps, compliments, and one-liners. Joe’s enthusiasm had its downside. In a town filled with people who liked to hear themselves talk, he had no peer. If a speech was scheduled for fifteen minutes, Joe went for at least a half hour. If it was scheduled for a half hour, there was no telling how long he might talk. His soliloquies during committee hearings were legendary. His lack of a filter periodically got him in trouble, as when during the primaries, he had pronounced me “articulate and bright and clean and a nice-looking guy,” a phrase surely meant as a compliment, but interpreted by some as suggesting that such characteristics in a Black man were noteworthy. As I came to know Joe, though, I found his occasional gaffes to be trivial compared to his strengths. On domestic issues, he was smart, practical, and did his homework. His experience in foreign policy was broad and deep. During his relatively short-lived run in the primaries, he had impressed me with his skill and discipline as a debater and his comfort on a national stage. Most of all, Joe had heart. He’d overcome a bad stutter as a child (which probably explained his vigorous attachment to words) and two brain aneurysms in middle age.

It is the question of "common world". The meaning of this world is not solipsism world, the world of "ego", but the world which can be actualize by my consciousness -according to relation of “ego” and caring for another in everyday life. To care for another means one lets go of self-consciousness and self-awareness and relates. We should consider human is constructed directly in term of their own consciousness and not by contrasting that consciousness with a reality independent of them, on the other hand it is constructed separate of his consciousness. So, we should surely consider the relation of human and the world. It seems that what can link these levels is “life-world” which means the idea of releasing human from worldlessness. Life-world as general sphere of individual experience in the world around (including other persons, objects and events) is a real and concrete phenomenon which has root in everyday life for obtaining its living practical purposes and objectively, considered as the basis of knowledge, interests, benefits and common links between humans. In the realm of life-world, transcendence and consciousness link to individual and group relationship and everyday life. For Heidegger consciousness proceeds from understanding, and this understanding is predicated upon our dealings in the world. Consciousness does not belong to the world, but has a practical relationship with it. What is within consciousness is the exact meaning of the word nothing. Consciousness is nothing but an opening to what they are and can only be talked about in this sense. Consciousness is the relationship we experience in praxis. As for a footballer, bodybuilding and fitness is nothing but the relationship he experiences in act, the day of the race and the subsequent races. Therefore, in this meaning, world without consciousness, intersubjectivity relationships -Alfred Schutz calls this quality as we- pure relation- and everyday life is not imaginable. Because of this matter we can't talk about the world without considering the roles of above items. "As Husserl articulated the life-world can be said to include the world of science and action can’t be without world." We should consider that thought itself arises out of incidents of living experience and must remain bound to them as the only guideposts by which to take its bearings. The artist who continually experiment the possibility of thinking and experience The new, respond to what addressed itself to him, because the new cannot be preconceived. On the other hand The new emerges through process as a shudder that presents itself to us. Even Architecture is not separate from these issues as the communicative. A part of Professor Pezhman Mosleh speech, “Music, Anti-war, a way to Discourse