Beautiful Sentiments Quotes

We've searched our database for all the quotes and captions related to Beautiful Sentiments. Here they are! All 14 of them:

Never forget: we walk on hell, gazing at flowers.
Kobayashi Issa
In his suicide note, Kurt Cobain wrote, "It's better to burn out than to fade away." He was quoting a Neil Young song about Johnny Rotten of the Sex Pistols. When I was twenty-four, I interviewed John Lennon. I asked him about this sentiment, one that pervades rock and roll. He took strong, outraged exception to it. "It's better to fade away like an old soldier than to burn out, " he said. "I worship people who survive. I'll take the living and the healthy.
David Sheff (Beautiful Boy: A Father's Journey Through His Son's Addiction)
This past, this endless struggle to achieve and reveal and confirm a human identity, human authority, yet contains, for all its horror, something very beautiful. I do not mean to be sentimental about suffering – enough is certainly as good as a feast – but people who cannot suffer can never grow up, can never discover who they are. That man who is forced each day to snatch his manhood, his identity, out of the fire of human cruelty that rages to destroy it knows, if he survives his effort, and even if he does not survive it, something about himself and human life that no school on earth – and indeed, no church – can teach. He achieves his own authority, and that is unshakable. This is because, in order to save his life, he is forced to look beneath appearances, to take nothing for granted, to hear the meaning behind the words. If one is continually surviving the worse that life can bring, one eventually ceases to be controlled by a fear of what life can bring; whatever it brings must be borne. And at this level of experience one’s bitterness begins to be palatable, and hatred becomes too heavy a sack to carry.
James Baldwin
Poetic Terrorism WEIRD DANCING IN ALL-NIGHT computer-banking lobbies. Unauthorized pyrotechnic displays. Land-art, earth-works as bizarre alien artifacts strewn in State Parks. Burglarize houses but instead of stealing, leave Poetic-Terrorist objects. Kidnap someone & make them happy. Pick someone at random & convince them they're the heir to an enormous, useless & amazing fortune--say 5000 square miles of Antarctica, or an aging circus elephant, or an orphanage in Bombay, or a collection of alchemical mss. ... Bolt up brass commemorative plaques in places (public or private) where you have experienced a revelation or had a particularly fulfilling sexual experience, etc. Go naked for a sign. Organize a strike in your school or workplace on the grounds that it does not satisfy your need for indolence & spiritual beauty. Graffiti-art loaned some grace to ugly subways & rigid public monuments--PT-art can also be created for public places: poems scrawled in courthouse lavatories, small fetishes abandoned in parks & restaurants, Xerox-art under windshield-wipers of parked cars, Big Character Slogans pasted on playground walls, anonymous letters mailed to random or chosen recipients (mail fraud), pirate radio transmissions, wet cement... The audience reaction or aesthetic-shock produced by PT ought to be at least as strong as the emotion of terror-- powerful disgust, sexual arousal, superstitious awe, sudden intuitive breakthrough, dada-esque angst--no matter whether the PT is aimed at one person or many, no matter whether it is "signed" or anonymous, if it does not change someone's life (aside from the artist) it fails. PT is an act in a Theater of Cruelty which has no stage, no rows of seats, no tickets & no walls. In order to work at all, PT must categorically be divorced from all conventional structures for art consumption (galleries, publications, media). Even the guerilla Situationist tactics of street theater are perhaps too well known & expected now. An exquisite seduction carried out not only in the cause of mutual satisfaction but also as a conscious act in a deliberately beautiful life--may be the ultimate PT. The PTerrorist behaves like a confidence-trickster whose aim is not money but CHANGE. Don't do PT for other artists, do it for people who will not realize (at least for a few moments) that what you have done is art. Avoid recognizable art-categories, avoid politics, don't stick around to argue, don't be sentimental; be ruthless, take risks, vandalize only what must be defaced, do something children will remember all their lives--but don't be spontaneous unless the PT Muse has possessed you. Dress up. Leave a false name. Be legendary. The best PT is against the law, but don't get caught. Art as crime; crime as art.
Hakim Bey (TAZ: The Temporary Autonomous Zone (New Autonomy))
Nice feelings are for people who have money to live as they please. If I had ten thousand a year, or even five, I would snap my fingers at all men, and say, 'No, I make my life as I choose, and shall cultivate knowledge and books, and indulge in beautiful ideas of honor and exalted sentiments, and perhaps one day succumb to a noble passion.
Elinor Glyn (The Vicissitudes of Evangeline)
All beauty does not inspire love; some please the sight without captivating the affections. If all beauties were to enamour and captivate, the hearts of mankind would be in a continual state of perplexity and confusion—for beautiful objects being infinite, the sentiments they inspire should also be infinite.
Miguel de Cervantes Saavedra (Wit and Wisdom of Don Quixote)
Here Nietzsche takes up a standpoint differing significantly from Schiller’s. What one might have guessed with Schiller, that his letters on aesthetic education were also an attempt to deal with his own problems, becomes a complete certainty in this work of Nietzsche’s: it is a “profoundly personal” book. Whereas Schiller begins to paint light and shade almost timorously and in pallid hues, apprehending the conflict in his own psyche as “naïve” versus “sentimental,” and excluding everything that belongs to the background and abysmal depths of human nature, Nietzsche has a profounder grasp and spans an opposition which, in one aspect, is no whit inferior to the dazzling beauty of Schiller’s vision, while its other aspect reveals infinitely darker tones that certainly enhance the effect of the light but allow still blacker depths to be divined.
C.G. Jung (Collected Works of C. G. Jung, Volume 6: Psychological Types (The Collected Works of C. G. Jung Book 16))
Thus it is with the body bereft of life; but things which never possessed life may also have a claim on our forbearance, our reverence, even our self-sacrificing devotion; for example, statues, graves, the soldier’s flag. And if we do violence to our nature, if we succeed in breaking by main force the bonds of association, we lapse into savagery, we suffer injury in our own souls by the loss of all those feelings which, so to speak, clothe the hard bedrock of naked reality with a garniture of verdant life. On the maintenance of these overgrowths of sentiment, on the due treasuring of acquired values, depend all the refinement, the beauty, and the grace of life, all ennobling of the animal instincts, together with all enjoyment and the pursuit of art—all, in short, that the Cynics set themselves to root up without scruple and without pity. There is, no doubt, a limit—so much we may readily concede to them and their not inconsiderable imitators of the present day—beyond which we cannot allow ourselves to be ruled by the principle of association without incurring the charge of that same folly and superstition which quite certainly grew out of the unlimited sway of that principle.
C.G. Jung (Collected Works of C. G. Jung, Volume 6: Psychological Types (The Collected Works of C. G. Jung Book 16))
The object of the mediating function, therefore, according to Schiller, is “living form,” for this would be precisely a symbol in which the opposites are united; “a concept that serves to denote all aesthetic qualities of phenomena and, in a word, what we call Beauty in the widest sense of the term.”75 But the symbol presupposes a function that creates symbols, and in addition a function that understands them. This latter function takes no part in the creation of the symbol, it is a function in its own right, which one could call symbolic thinking or symbolic understanding. The essence of the symbol consists in the fact that it represents in itself something that is not wholly understandable, and that it hints only intuitively at its possible meaning. The creation of a symbol is not a rational process, for a rational process could never produce an image that represents a content which is at bottom incomprehensible. To understand a symbol we need a certain amount of intuition which apprehends, if only approximately, the meaning of the symbol that has been created, and then incorporates it into consciousness. Schiller calls the symbol-creating function a third instinct, the play instinct; it bears no resemblance to the two opposing functions, but stands between them and does justice to both their natures—always provided (a point Schiller does not mention) that sensation and thinking are serious functions. But there are many people for whom neither function is altogether serious, and for them seriousness must occupy the middle place instead of play. Although elsewhere Schiller denies the existence of a third, mediating, basic instinct,76 we will nevertheless assume, though his conclusion is somewhat at fault, his intuition to be all the more accurate. For, as a matter of fact, something does stand between the opposites, but in the pure differentiated type it has become invisible. In the introvert it is what I have called feeling-sensation. On account of its relative repression, the inferior function is only partly attached to consciousness; its other part is attached to the unconscious. The differentiated function is the most fully adapted to external reality; it is essentially the reality-function; hence it is as much as possible shut off from any admixture of fantastic elements. These elements, therefore, become associated with the inferior functions, which are similarly repressed. For this reason the sensation of the introvert, which is usually sentimental, has a very strong tinge of unconscious fantasy. The third element, in which the opposites merge, is fantasy activity, which is creative and receptive at once. This is the function Schiller calls the play instinct, by which he means more than he actually says. He exclaims: “For, to declare it once and for all, man plays only when he is in the full sense of the word a man, and he is only wholly man when he is playing.” For him the object of the play instinct is beauty. “Man shall only play with Beauty, and only with Beauty shall he play.”77
C.G. Jung (Collected Works of C. G. Jung, Volume 6: Psychological Types (The Collected Works of C. G. Jung Book 16))
There's a man here who fascinates me. I've never seen anyone like him. I want him, and I think he return the sentiment. I have not the skill to describe him. His face is quite unique. I think he would be beautiful if he ever smiled.
Annick Trent (Beck and Call (The Old Bridge Inn, #1))
Christmas should not be treated by us as the “denial season.” One of the reasons why so many families have so many tangles and scenes during the “holidays” is that everybody expects sentimentalism to fix everything magically. But Christmas is not a “trouble-free” season. We want the scrooges and grinches in our lives to be transformed by gentle snowfall, silver bells, beautifully arranged evergreens, hot cider, and carols being sung in the middle distance. But what happens when you gather together with a bunch of other sinners, and all of them have artificially inflated expectations? What could go wrong? When confronted with the message of sentimentalism, we really do need somebody who will say, “Bah, humbug.
Douglas Wilson (God Rest Ye Merry: Why Christmas is the Foundation for Everything)
Fine sermons have been preached on the text that those who have should share with those who have not, but he who would act out this principle is speedily informed that these beautiful sentiments are all very well in poetry, but not in practice. “To lie is to degrade and besmirch oneself,” we say, and yet all civilized life becomes one huge lie. We accustom ourselves and our children to hypocrisy, to the practice of a double-faced morality. And since the brain is ill at ease among lies, we cheat ourselves with sophistry. Hypocrisy and sophistry become the second nature of the civilized man.
Pyotr Kropotkin (The Conquest of Bread: The #1 Classic Anarchist Book)
You’re beautiful, Cecelia.” It’s the first time I’ve said it without anything physical happening between us, and her eyes widen a little with the sentiment. This woman has completely consumed me in every way that matters, and she needs to know. Instead, I press a promise into her as I take her lips in a kiss—a vow without words that I’ll protect her perfect heart as much as I can. A vow without words but a promise just the same. A promise I’ll do everything in my power to keep.
Kate Stewart (One Last Rainy Day: The Legacy of a Prince (Ravenhood Legacy Book 1))
But it is almost impossible to find anyone over seventy who does not care for gardening. By then, most people’s ambitions will have taken a substantial hit: love or work will not have worked out in key ways. At this point, the consolation offered by gardening starts to feel very significant. Flowers become something to be cherished precisely because of their lack of exigencies or overt grandeur. The world beyond will always resist our efforts to bend it to our will, but in the garden, with some effort, regular watering and some luck with the sun, we can for brief weeks be the midwives to something as visually seductive as it is cheering. We are moved by the flowers’ tender beauty because we know, by this stage, so much about pain and disappointment; we aren’t sentimental so much as traumatised. We won’t turn down this one of nature’s gifts. It isn’t the largest, but it may — on a mild summer evening — be very much good enough.
The School of Life (How to Survive the Modern World: Making sense of, and finding calm in, unsteady times)