Cool Latin Quotes

But do I need to say anything?" Sophie asked. "Do I need to learn any words?" "Like what?" Saint-Germain said. "Well, when you lit up the Eiffel tower, you said something that sounded like eggness." "Ignis," the count said. "Latin for fire. No, you don't need to say anything." "Then why did you do it, then?" Sophie asked. Saint-Germain grinned. "I just thought it sounded cool.

Adam, we hear, walked in easy fellowship with God in the cool of the evening and spoke to him as to a friend. This ordering of Adam to God meant that our first parent was effortlessly caught up in adoration. The term "adoration" comes from the Latin ado ratio, which in turn is derived from "ad ora" (to the mouth). To adore, therefore, is to be mouth to mouth with God, properly aligned to the divine source, breathing in God's life. When one is in the stance of adoration, the whole of one's life - mind, will, emotions, imagination, sexuality - becomes ordered and harmonized, much as the elements of a rose window arrange themselves musically around a central point.

Well, when you lit up the Eiffel Tower, you said something that sounded like eggness.” “Ignis,” the count said. “Latin for fire. No, you don’t need to say anything.” “Why did you do it, then?” Saint-Germain grinned. “I just thought it sounded cool.

You turn the lights on and off here and if you can’t sleep and want something to read there are books in the living room…” her voice broke off. “Wait. Can you read?” His chin took a slight tilt upward. “Aye,” Faolán replied, his voice cool, “in English, Gaelic, Latin, or French. My Welsh is a bit rusty, and I doona remember any of the Greek I was taught except for words not fit for a lady’s ears. I can also count all the way up to…” He looked down and wiggled his large bare toes, “…twenty.” – Faolán MacIntyre

I met Ana doing free weights,” Roger said. “This hard-body señorita was putting me to shame on squats, and I asked her how she got such a tight ass —” “And then she decked you.” “Nah, she loved it! She’s real proud of that butt — she should be. She took me to one of her classes, and I got hooked. She’s a Zumba instructor.” Grant absorbed that information for a moment. “You do...Zumba?” “It’s great! Much more fun than PT. You just get going...” He did a little two-step maneuver on the city street, dancing to an unknown Latin beat. “Cha cha cha. Heeuh? Ana does this a little better than me...” Grant tried to hold it in. He really did. But his body quivered, his shoulders shook, and soon a whooping laugh erupted — which lasted quite a few seconds. Roger abruptly stopped his dance. “You judge, Madsen. Not cool.

Every winter, the Latin Club celebrated Saturnalia ... We wore togas ... and wreaths made out of pipe cleaners, and we had a feast of whole roast chickens and carbonated grape juice, which we ate with our hands, like the Romans. We toasted each other by saying "Io Saturnalia!" and pretended to be drunk emperors in the teachers' multipurpose room. You know, just the typical stuff you do when you are really cool in high school.

By midday the Xanti were usually asleep again in their hammocks or under the trees, and Maia and Finn would wander off to a cool part of the riverbank, keeping a wary lookout for Miss Minton, who might suddenly decide they should do some mental arithmetic or Latin verbs. “You know I told you what my father said you had to do--‘seize the day,’” said Maia. “Well, it seems to me there’s no point in doing that here. You don’t have to seize it. They give you the day.

Korean dramas also have huge audiences in Latin America—perhaps because of their emotional similarity to telenovelas. In South America, Korean dramas have become hits in Brazil, Chile, and Argentina. In Paraguay, some Korean dramas were dubbed not only in Spanish but also in the indigenous local dialect of Guarani. In

If I hear notes in music I see each note visually. This is called synesthesia. Each one is as visually distinct as it is auditorally. Bach is geometric. Beethoven is like very long leaps of fire and light. Prokofiev is intricate scenes of lights and movement. Mozart is curly bands of lights and rosy colors. Jazz is sharp angles of light. Opera is lots of really huge deep lightning bolts. Pop is short simple bands of light. Rap is not a pretty sight. It is like an angry visual mess. I don’t enjoy it, but I do like samba and Latin rhythms. Those have cool bouncy lights and colors.

Walking through the halls of my son's high school during lunch hour recently, I was struck by how similar it felt to being in the halls and lunchrooms of the juvenile prisons in which I used to work. The posturing, the gestures, the tone, the words, and the interaction among peers I witnessed in this teenage throng all bespoke an eerie invulnerability. These kids seemed incapable of being hurt. Their demeanor bespoke a confidence, even bravado that seemed unassailable but shallow at the same time. The ultimate ethic in the peer culture is “cool” — the complete absence of emotional openness. The most esteemed among the peer group affect a disconcertingly unruffled appearance, exhibit little or no fear, seem to be immune to shame, and are given to muttering things like “doesn't matter,” “don't care,” and “whatever.” The reality is quite different. Humans are the most vulnerable — from the Latin vulnerare, to wound — of all creatures. We are not only vulnerable physically, but psychologically as well. What, then, accounts for the discrepancy? How can young humans who are in fact so vulnerable appear so opposite? Is their toughness, their “cool” demeanor, an act or is it for real? Is it a mask that can be doffed when they get to safety or is it the true face of peer orientation? When I first encountered this subculture of adolescent invulnerability, I assumed it was an act. The human psyche can develop powerful defenses against a conscious sense of vulnerability, defenses that become ingrained in the emotional circuitry of the brain. I preferred to think that these children, if given the chance, would remove their armor and reveal their softer, more genuinely human side. Occasionally this expectation proved correct, but more often than not I discovered the invulnerability of adolescents was no act, no pretense. Many of these children did not have hurt feelings, they felt no pain. That is not to say that they were incapable of being wounded, but as far as their consciously experienced feelings were concerned, there was no mask to take off. Children able to experience emotions of sadness, fear, loss, and rejection will often hide such feelings from their peers to avoid exposing themselves to ridicule and attack. Invulnerability is a camouflage they adopt to blend in with the crowd but will quickly remove in the company of those with whom they have the safety to be their true selves. These are not the kids I am most concerned about, although I certainly do have a concern about the impact an atmosphere of invulnerability will have on their learning and development. In such an environment genuine curiosity cannot thrive, questions cannot be freely asked, naive enthusiasm for learning cannot be expressed. Risks are not taken in such an environment, nor can passion for life and creativity find their outlets. The kids most deeply affected and at greatest risk for psychological harm are the ones who aspire to be tough and invulnerable, not just in school but in general. These children cannot don and doff the armor as needed. Defense is not something they do, it is who they are. This emotional hardening is most obvious in delinquents and gang members and street kids, but is also a significant dynamic in the common everyday variety of peer orientation that exists in the typical American home.