Descriptive Inspiring Quotes

You're going to meet many people with domineering personalities: the loud, the obnoxious, those that noisily stake their claims in your territory and everywhere else they set foot on. This is the blueprint of a predator. Predators prey on gentleness, peace, calmness, sweetness and any positivity that they sniff out as weakness. Anything that is happy and at peace they mistake for weakness. It's not your job to change these people, but it's your job to show them that your peace and gentleness do not equate to weakness. I have always appeared to be fragile and delicate but the thing is, I am not fragile and I am not delicate. I am very gentle but I can show you that the gentle also possess a poison. I compare myself to silk. People mistake silk to be weak but a silk handkerchief can protect the wearer from a gunshot. There are many people who will want to befriend you if you fit the description of what they think is weak; predators want to have friends that they can dominate over because that makes them feel strong and important. The truth is that predators have no strength and no courage. It is you who are strong, and it is you who has courage. I have lost many a friend over the fact that when they attempt to rip me, they can't. They accuse me of being deceiving; I am not deceiving, I am just made of silk. It is they who are stupid and wrongly take gentleness and fairness for weakness. There are many more predators in this world, so I want you to be made of silk. You are silk.

The empowered woman is powerful beyond measure and beautiful beyond description.

I take issue with many people's description of people being "Illegal" Immigrants. There aren't any illegal Human Beings as far as I'm concerned.

I believe it will have become evident why, for me, adjectives such as happy, contented, blissful, enjoyable, do not seem quite appropriate to any general description of this process I have called the good life, even though the person in this process would experience each one of these at the appropriate times. But adjectives which seem more generally fitting are adjectives such as enriching, exciting, rewarding, challenging, meaningful. This process of the good life is not, I am convinced, a life for the faint-fainthearted. It involves the stretching and growing of becoming more and more of one's potentialities. It involves the courage to be. It means launching oneself fully into the stream of life. Yet the deeply exciting thing about human beings is that when the individual is inwardly free, he chooses as the good life this process of becoming.

The excitement of dreams coming true is beyond the description of words.

So many misconceptions surround the notion of heroism. Far too many categorize a hero as a champion on the battlefield, a commander of legions, a master of rare talent or ability. Granted, there have been heroes who fit those descriptions. But many men of great evil as well. Heed me. A hero sacrifices for the greater good. A hero is true to his or her conscience. In short, heroism means doing the right thing regardless of the consequences. Although any person could fit that description, very few do. Choose this day to be one of them." (Beyonders - A World Without Heroes)

4. Religion. Your reason is now mature enough to examine this object. In the first place, divest yourself of all bias in favor of novelty & singularity of opinion... shake off all the fears & servile prejudices, under which weak minds are servilely crouched. Fix reason firmly in her seat, and call to her tribunal every fact, every opinion. Question with boldness even the existence of a God; because, if there be one, he must more approve of the homage of reason, than that of blindfolded fear. You will naturally examine first, the religion of your own country. Read the Bible, then as you would read Livy or Tacitus. The facts which are within the ordinary course of nature, you will believe on the authority of the writer, as you do those of the same kind in Livy and Tacitus. The testimony of the writer weighs in their favor, in one scale, and their not being against the laws of nature, does not weigh against them. But those facts in the Bible which contradict the laws of nature, must be examined with more care, and under a variety of faces. Here you must recur to the pretensions of the writer to inspiration from God. Examine upon what evidence his pretensions are founded, and whether that evidence is so strong, as that its falsehood would be more improbable than a change in the laws of nature, in the case he relates. For example in the book of Joshua we are told the sun stood still several hours. Were we to read that fact in Livy or Tacitus we should class it with their showers of blood, speaking of statues, beasts, &c. But it is said that the writer of that book was inspired. Examine therefore candidly what evidence there is of his having been inspired. The pretension is entitled to your inquiry, because millions believe it. On the other hand you are astronomer enough to know how contrary it is to the law of nature that a body revolving on its axis as the earth does, should have stopped, should not by that sudden stoppage have prostrated animals, trees, buildings, and should after a certain time have resumed its revolution, & that without a second general prostration. Is this arrest of the earth's motion, or the evidence which affirms it, most within the law of probabilities? You will next read the New Testament. It is the history of a personage called Jesus. Keep in your eye the opposite pretensions: 1, of those who say he was begotten by God, born of a virgin, suspended & reversed the laws of nature at will, & ascended bodily into heaven; and 2, of those who say he was a man of illegitimate birth, of a benevolent heart, enthusiastic mind, who set out without pretensions to divinity, ended in believing them, and was punished capitally for sedition, by being gibbeted, according to the Roman law, which punished the first commission of that offence by whipping, & the second by exile, or death in fureâ. ...Do not be frightened from this inquiry by any fear of its consequences. If it ends in a belief that there is no God, you will find incitements to virtue in the comfort and pleasantness you feel in its exercise, and the love of others which it will procure you... In fine, I repeat, you must lay aside all prejudice on both sides, and neither believe nor reject anything, because any other persons, or description of persons, have rejected or believed it... I forgot to observe, when speaking of the New Testament, that you should read all the histories of Christ, as well of those whom a council of ecclesiastics have decided for us, to be Pseudo-evangelists, as those they named Evangelists. Because these Pseudo-evangelists pretended to inspiration, as much as the others, and you are to judge their pretensions by your own reason, and not by the reason of those ecclesiastics. Most of these are lost... [Letter to his nephew, Peter Carr, advising him in matters of religion, 1787]

I love words.  I crave descriptions that overwhelm my imagination with vivid detail.  I dwell on phrases that make my heart thrum.  I cherish expressions that pierce my emotions and force the tears to spill over.   In essence, I long for a writer's soul sealed in ink on the page.

The light in her eyes was beyond description, yet it did not instill improper thoughts: it inspired a love tempered by awe, purifying the hearts it inflamed.

This imaginary gift is a journey for your imagination. I send you... A luxury train ride. On this train are all the inspiring people you've ever wanted to meet or talk to. You glide from car to car, sitting or lying down on velvet lounge chairs, listening and asking questions. There is also a voluminous library on the train, with every book you've ever wanted to read or look at. Kind people bring you delicious tidbits to eat and nourishing liquids to drink. If you take a nap, time stands still until you return so you never miss anything. You receive a large journal filled with photographs, drawings and descriptions of your journey to take with you when you leave. You realize that you can board this train at any time.

And if I'm guilty of having gratuitous sex, then I'm also guilty of having gratuitous violence, and gratuitous feasting, and gratuitous description of clothes, and gratuitous heraldry, because very little of this is necessary to advance the plot. But my philosophy is that plot advancement is not what the experience of reading fiction is about. If all we care about is advancing the plot, why read novels? We can just read Cliffs Notes. A novel for me is an immersive experience where I feel as if I have lived it and that I've tasted the food and experienced the sex and experienced the terror of battle. So I want all of the detail, all of the sensory things—whether it's a good experience, or a bad experience, I want to put the reader through it. To that mind, detail is necessary, showing not telling is necessary, and nothing is gratuitous.

Teachers are wonderful beings who inspire the spirit and open the mind. Nobody at Padua High School fits that description.

There are moments in every relationship that define when two people start to fall in love. A first glance A first smile A first kiss A first fall… (I remove the Darth Vader house shoes from my satchel and look down at them.) You were wearing these during one of those moments. One of the moments I first started to fall in love with you. The way you gave me butterflies that morning Had absolutely nothing to do with anyone else, and everything to do with you. I was falling in love with you that morning because of you. (I take the next item out of the satchel. When I pull it out and look up, she brings her hands to her mouth in shock.) This ugly little gnome With his smug little grin… He's the reason I had an excuse to invite you into my house. Into my life. You took a lot of aggression out on him over those next few months. I would watch from my window as you would kick him over every time you walked by him. Poor little guy. You were so tenacious. That feisty, aggressive, strong-willed side of you…. The side of you that refused to take crap from this concrete gnome? The side of you that refused to take crap from me? I fell in love with that side of you because of you. (I set the gnome down on the stage and grab the CD) This is your favorite CD ‘Layken’s shit.’ Although now I know you intended for shit to be possessive, rather than descriptive. The banjo started playing through the speakers of your car and I immediately recognized my favorite band. Then when I realized it was your favorite band, too? The fact that these same lyrics inspired both of us? I fell in love with that about you. That had absolutely nothing to do with anyone else. I fell in love with that about you because of you. (I take a slip of paper out of the satchel and hold it up. When I look at her, I see Eddie slide her a napkin. I can’t tell from up here, but that can only mean she’s crying.) This is a receipt I kept. Only because the item I purchased that night was on the verge of ridiculous. Chocolate milk on the rocks? Who orders that? You were different, and you didn’t care. You were being you. A piece of me fell in love with you at that moment, because of you. This? (I hold up another sheet of paper.) This I didn’t really like so much. It’s the poem you wrote about me. The one you titled 'mean?' I don’t think I ever told you… but you made a zero. And then I kept it to remind myself of all the things I never want to be to you. (I pull her shirt from my bag. When I hold it into the light, I sigh into the microphone.) This is that ugly shirt you wear. It doesn’t really have anything to do with why I fell in love with you. I just saw it at your house and thought I’d steal it.

I like Sade. I’m re-reading Juliette. I skip the philosophy and read the salacious bits. His descriptive imagination is incredible.

In the absence of a formally agreed, worldwide dictionary definition of 'Quotography' (in 2016), here are my two cents worth: 'Quotography is the art of pairing unique quotations with complementary images in order to express thought-provoking ideas, challenging concepts, profound sentiments'.

Life is Beautiful? Beyond all the vicissitudes that are presented to us on this short path within this wild planet, we can say that life is beautiful. No one can ever deny that experiencing the whirlwind of emotions inside this body is a marvel, we grow with these life experiences, we strengthen ourselves and stimulate our feelings every day, in this race where the goal is imminent death sometimes we are winners and many other times we lose and the darkness surprises us and our heart is disconnected from this reality halfway and connects us to the server of the matrix once more, debugging and updating our database, erasing all those experiences within this caracara of flesh and blood, waiting to return to earth again. "Life is beautiful gentlemen" is cruel and has unfair behavior about people who looked like a bundle of light and left this platform for no apparent reason, but its nature is not similar to our consciousness and feelings, she has a script for each of us because it was programmed that way, the architects of the game of life they know perfectly well that you must experiment with all the feelings, all the emotions and evolve to go to the next levels. You can't take a quantum leap and get through the game on your own. inventing a heaven and a hell in order to transcend, that comes from our fears of our imagination not knowing what life has in store for us after life is a dilemma "rather said" the best kept secret of those who control us day by day. We are born, we grow up, we are indoctrinated in the classrooms and in the jobs, we pay our taxes, we reproduce, we enjoy the material goods that it offers us the system the marketing of disinformation, Then we get old, get sick and die. I don't like this story! It looks like a parody of Noam Chomsky, Let's go back to the beautiful description of beautiful life, it sounds better! Let's find meaning in all the nonsense that life offers us, 'Cause one way or another we're doomed to imagine that everything will be fine until the end of matter. It is almost always like that. Sometimes life becomes a real nightmare. A heartbreaking horror that we find impossible to overcome. As we grow up, we learn to know the dark side of life. The terrors that lurk in the shadows, the dangers lurking around every corner. We realize that reality is much harsher and ruthless than we ever imagined. And in those moments, when life becomes a real hell, we can do nothing but cling to our own existence, summon all our might and fight with all our might so as not to be dragged into the abyss. But sometimes, even fighting with all our might is not enough. Sometimes fate is cruel and takes away everything we care about, leaving us with nothing but pain and hopelessness. And in that moment, when all seems lost, we realize the terrible truth: life is a death trap, a macabre game in which we are doomed to lose. And so, as we sink deeper and deeper into the abyss, while the shadows envelop us and terror paralyzes us, we remember the words that once seemed to us so hopeful: life is beautiful. A cruel and heartless lie, that leads us directly to the tragic end that death always awaits us.

The song drifted on, swelling of hopes and beauty and birdsong, salted with the bitterness of the past and hope for tomorrow.

...ugly interlopers threaten to choke off your story, depriving it of much-needed nutrition, sunlight and water. Identify and cut those weeds – the life-sucking adverbs, the shade-killing descriptions that don’t move the story forward, the crowding passive voice sentences.

The phono-lecturer began the description of the recently invented musicometer. “… By merely rotating this handle anyone is enabled to produce about three sonatas per hour. What difficulties our predecessors had in making music! They were able to compose only by bringing themselves to attacks of inspiration, an extinct form of epilepsy.

The moment you know your real being, you are afraid of nothing. Death gives freedom and power. To be free in the world, you must die to the world. Then the universe is your own; it becomes your body, an expression and a tool. The happiness of being absolutely free is beyond description.

Elles étaient en touffes avec des racines d'or, épanouies, enfoncées dans les ténèbres et qui soulevaient des mottes luisantes de nuit. (à propos des étoiles)

There is no division, in practice, between work and life. [An intellectual craft] is a practice that involves the whole person, continually drawing on past experience as it is projected into the future.

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.

As for 'too much description,' well, opinions differ. We write the books we want to read. And I want to read books that are richly textured and full of sensory detail, books that make me feel as if I am experiencing a story, not just reading it. Plot is only one aspect of telling a tale, and not the most important one. It is the journey that matters, not how fast you arrrive at the destination. That's my view, anyway. Others writers differ, of course. There are hundreds of books where everything is subordinate to advancing the plot, some of them quite fine, but my work has never been about that, and never will be.

This is one of my most fulfilling writing jobs. It was like having my own witching hour, when I summoned magic and breathed new life into the pages. With every keystroke, I crafted characters that came to life, captivating readers and leaving them spellbound.

I see it all. I feel it all. I am inspired. My eyes fill with tears. Yet even as I feel this. I lash my frenzy higher and higher. It foams. It becomes artificial, insincere. Words and words and words, how they gallop - how they lash their long manes and tails, but for some fault in me I cannot fly with them, scattering women and string bags. There is some flaw in me - some fatal hesitancy, which, if I pass it over, turns to foam and falsity

No book on this planet can give you the description of terms like religion, spirituality, divinity unless you discover it within the realm of your own mind.

Your personality should be described in poem not in paragraph.

Fruit fly scientists, God bless ‘em, are the big exceptions. Morgan’s team always picked sensibly descriptive names for mutant genes, like ‘speck,’ ‘beaded,’ ‘rudimentary,’ ‘white,’ and ‘abnormal.’ And this tradition continues today, as the names of most fruit fly genes eschew jargon and even shade whimsical… The ‘turnip’ gene makes flies stupid. ‘Tudor’ leaves males (as with Henry VIII) childless. ‘Cleopatra’ can kill flies when it interacts with another gene, ‘asp.’ ‘Cheap date’ leaves flies exceptionally tipsy after a sip of alcohol… And thankfully, this whimsy with names has inspired the occasional zinger in other areas of genetics… The backronym for the “POK erythroid myeloid ontogenic” gene in mice—‘pokemon’—nearly provoked a lawsuit, since the ‘pokemon’ gene (now known, sigh, as ‘zbtb7’) contributes to the spread of cancer, and the lawyers for the Pokemon media empire didn’t want their cute little pocket monsters confused with tumors.

Your readers have seen a sky with one moon in it any number of times, right? But I doubt they've seen a sky with two moons in it side by side. When yoy introduce things that most readers have never seen before into a piece of fiction, you have to describe them with as much precision and in as much detail as possible. What you can eliminate from fiction is the description of what most readers have seen.

All around the edges of the platform where she sat, elephants stood patiently waiting for their breakfast. Occasionally, one would grunt or snort or flap its ears, but otherwise, they were as quiet as apparitions.

The religious faith that we are born into is largely determined by the region where we live and the ethnic background of our family. In my case, I was born to an African American family in the southern region of the United States. Like most families of our description, we embraced the Baptist religious tradition. Although I went from Baptist to Buddhist, I’ve honored my family’s heritage and cherish the similarities between these two paths. Baptist teachings encouraged me to work toward attaining admission into a heavenly paradise, while Buddhism inspires me to attain the enduring and enlightened life condition of Buddhahood. Although the goals of these two spiritual paths may sound somewhat different, both focus on creating a state of indestructible, eternal happiness. To me, that is an important similarity. I’ve met people from all over the world, from many cultures and faiths, and I believe that all religious traditions share the same basic aspirations at their core—to experience everlasting joy by aligning with the positive forces of the universe. We may describe this ultimate reality as Jehovah, God, Allah, Jesus, Hashem, Tao, Brahma, the Creator, the Mystic Law, the Universe, the Force, Buddha nature, Christ consciousness, or any number of other expressions.

Rudyard Kipling, in his famous poetic description of what makes for mature and effective adulthood, wrote in part: If you can keep your head When all about you Are losing theirs And blaming it on you... If you can trust yourself When all men doubt you... This famous 1909 poem “If” was inspired in Kipling after observing one military leader’s actions during the Boer Wars (Lt. Colonel Eduardo Jany, personal communication, October, 2007).

The vision is the public statement of the founder’s intent, WHY the company exists. It is literally the vision of a future that does not yet exist. The mission statement is a description of the route, the guiding principles—HOW the company intends to create that future. When both of those things are stated clearly, the WHY-type and the HOW-type are both certain about their roles in the partnership. Both are working together with clarity of purpose and a plan to get there. For it to work, however, it requires more than a set of skills, it requires trust. As

What he doesn't realize is that his sanity is swaying like a tightrope walker over a dangerous sea of madness and his rationality is dissolving, just as an ominous thought emerges from beyond and moves stealthily through his mind: nibble, nibble like a mouse; tomorrow everyone will die.

José Arcadio’s companion asked them to leave them alone, and the couple lay down on the ground, close to the bed. The passion of the others woke up José Arcadio’s fervor. On the first contact the bones of the girl seemed to become disjointed with a disorderly crunch like the sound of a box of dominoes, and her skin broke out into a pale sweat and her eyes filled with tears as her whole body exhaled a lugubrious lament and a vague smell of mud. But she bore the impact with a firmness of character and a bravery that were admirable. José Arcadio felt himself lifted up into the air toward a state of seraphic inspiration, where his heart burst forth with an outpouring of tender obscenities that entered the girl through her ears and came out of her mouth translated into her language.

Is it possible, I wonder, to study a bird so closely, to observe and catalogue its peculiarities in such minute detail, that it becomes invisible? Is it possible that while fastidiously calibrating the span of its wings or the length of its tarsus, we somehow lose sight of its poetry? That in our pedestrian descriptions of a marbled or vermiculated plumage we forfeit a glimpse of living canvases, cascades of carefully toned browns and golds that would shame Kandinsky, misty explosions of color to rival Monet? I believe that we do. I believe that in approaching our subject with the sensibilities of statisticians and dissectionists, we distance ourselves increasingly from the marvelous and spell binding planet of imagination whose gravity drew us to our studies in the first place. That is not to say that we should cease to establish facts and verify our information, but merely to suggest that unless those facts can be imbued with the flash of poetic insight then they remain dull gems; semi-precious stones scarcely worth the collecting.

The unseen essential can be described in many ways and comes in many forms, but is always preceded by virtue.

Atomic Theory and the Description of Nature.

Description is the color in the canvas of your story.

The events of the past days began to come back to him now, slow and fragmented, like pieces of driftwood washing ashore in the aftermath of a shipwreck.

When we raise our vibration to the state of "Being Love," we change and our world shifts into something so delicious and intoxicating that words hardly do justice to its description.

I wanted to write enormous naturalistic novels with unhappy endings, full of detailed descriptions and arresting similes, and also full of purple passages in which words were used partly for the sake of their own sound.

I know many writers who actually use the Tarot as a way of inspiring ideas and possible plots. Try it yourself for fun. Tarot packs aren't usually expensive and most have descriptions about how they may be best interpreted.

No other frontier has ever inspired so many of its people to write. The scenes of California, and the experiences of getting there an dliving there, were so often extraordinary and dramatic that they cried out for description.

As we examine the stars, they often feel too far out of reach, yet we aren’t able to deny the sense of being touched by them in an intimate way beyond description. Do you feel as I do? That as you set your sight intently upon a star, it gazes right back at you in acknowledgement of recognition of you as well. To set our sights upon the stars is a feeling of being at home. It is a sense of belonging to something greater than us, yet a kindred sense of ourselves.

Has anyone at the end of the nineteenth century any distinct notion of what poets of a stronger age understood by the word inspiration?  If not, I will describe it.  If you had the slightest residue of superstition left in you it would hardly be possible to completely disregard the idea that one is the mere incarnation, a mouthpiece or a medium of an almighty power.  The idea of revelation in the sense of something which profoundly moves and provokes, becoming suddenly visible and audible with indescribable certainty and accuracy—is a simple description.  You hear—you do not seek; you take—and do not ask who gives: a thought suddenly flashes up like lightning, it comes as a necessity, without hesitation—I have never had any choice in the matter. 

We write, edit, and rewrite the story of our own life employing descriptive words, metaphors, and symbols. Our lives are full of symbols including those supplied by nature and religion, which touch upon the mystical and spiritual aspects of life. Symbols inspire enduring hope by formulating idealist expectations.

I had entered the Green [of Glasgow] by the gate at the foot of Charlotte Street—had passed the old washing-house. I was thinking upon the engine at the time, and had gone as far as the herd's house, when the idea came into my mind that as steam was an elastic body it would rush into a vacuum, and if a communication were made between the cylinder and an exhausted vessel it would rush into it, and might be there condensed without cooling the cylinder. I then saw that I must get rid of the condensed steam and injection water if I used a jet, as in Newcomen's engine. Two ways of doing this occurred to me. First, the water might be run off by a descending pipe, if an outlet could be got at the depth of 35 or 36 feet, and any air might be extracted by a small pump. The second was to make the pump large enough to extract both water and air. ... I had not walked further than the Golf-house when the whole thing was arranged in my mind. {In Robert Hart's words, a recollection of the description of Watt's moment of inspiration, in May 1765, for improving Thomas Newcomen's steam engine.}

Degas, more than any other Realist, looked upon the photograph not merely as a means of documentation, but rather as an inspiration: it evoked the spirit of his own imagery of the spontaneous, the fragmentary and the immediate. Thus, in a certain sense, critics of Realism were quite correct to equate the objective, detached, scientific mode of photography, and its emphasis on the descriptive rather than the imaginative or evaluative, with the basic qualities of Realism itself. As Paul Valéry pointed out in an important though little known article: ‘the moment that photography appeared, the descriptive genre began to invade Letters. In verse as in prose, the décor and the exterior aspects of life took an almost excessive place.… With photography… realism pronounces itself in our Literature’ and, he might have said, in our art as well.

So I said, and quickly reached for my glass so as to duck my disingenuous face and take a bitter drop of brandy on my tongue. But Lonoff had read my designing mind, all right; for when I came upon Babel’s description of the Jewish writer as a man with autumn in his heart and spectacles on his nose, I had been inspired to add, “and blood in his penis,” and had then recorded the words like a challenge—a flaming Dedalian formula to ignite my soul’s smithy.

I lifted the description ' a bewildering array of stars' once from a far better writer - I can't remember who now, only that I stole it - and that expression came to mind as I stared up at an awe-inspiring sky over the Sahara, the bright, penetrating lights, the quick drop of comets, a cold moon, which made the rippling patterns sand look like a frozen sea. The universe was large all right, but no larger, it appeared, than the whole wide world ahead of me.

Only a bad person needs to repent: only a good person can repent perfectly. The worse you are the more you need it and the less you can do it. The only person who could do it perfectly would be a perfect person—and he would not need it. Remember, this repentance, this willing submission to humiliation and a kind of death, is not something God demands of you before He will take you back and which He could let you off if He chose: it is simply a description of what going back to Him is like.

Of course, the final assault on Eve’s character comes from the so-called punishment she receives: pain that is multiplied in childbirth and magnified by men who point out that with every birth women are reminded of their subordinate place and propensity to sin. Such admonishments fail to account for the difference between something that is prescriptive (what should be; i.e., punishment) versus something descriptive (what will be, i.e., result).24 Since the Bible is the result of Divine inspiration and human experience, we realize that its authors were trying to make sense of their lives, lives that in this case involved significant pain during childbirth. As readers we cannot make an uncritical leap from how these writers understood their experience to confirmation that their perceptions were the same thing as God’s will. But because numerous people have failed to make such distinctions, they overlook the powerful insight conveyed in this narrative, choosing instead to blame Eve for sin and to point to childbirth as evidence of her disobedience.

that a statesman should devote his life to studying “the science of politics, in order to acquire in advance all the knowledge that it may be necessary for him to use at some future time”; that authority in a state must always be divided; and that of the three known forms of government—monarchy, aristocracy and people—the best is a mixture of all three, for each one taken on its own can lead to disaster: kings can be capricious, aristocrats self-interested, and “an unbridled multitude enjoying unwonted power more terrifying than a conflagration or a raging sea.” Often today I reread On the Republic, and always I am moved, especially by the passage at the end of book six, when Scipio describes how his grandfather appears to him in a dream and takes him up into the heavens to show him the smallness of the earth in comparison to the grandeur of the Milky Way, where the spirits of dead statesmen dwell as stars. The description was inspired by the vast, clear night skies above the Bay of Naples: I gazed in every direction and all appeared wonderfully beautiful. There were stars which we never see from earth, and they were all larger than we have ever imagined. The starry spheres were much greater than the earth; indeed the earth itself seemed to me so small that I was scornful of our empire, which covers only a single point, as it were, upon its surface. “If only you will look on high,” the old man tells Scipio, “and contemplate this eternal home and resting place, you will no longer bother with the gossip of the common herd or put your trust in human reward for your exploits. Nor will any man’s reputation endure very long, for what men say dies with them and is blotted out with the forgetfulness of posterity.

What, may I ask, does your one truck contain if not gowns?” Inspiration struck, and Elizabeth smiled radiantly. “Something of great value. Priceless value,” she confided. All faces at the table watched her with alert fascination-particularly the greedy Sir Francis. “Well, don’t keep us in suspense, love. What’s in it?” “The mortal remains of Saint Jacob.” Lady Eloise and Lady Mortand screamed in unison, Sir William choked on his wine, and Sir Francis gaped at her in horror, but Elizabeth wasn’t quite finished. She saved the coup de grace until the meal was over. As soon as everyone arose she insisted they sit back down so a proper prayer of gratitude could be said. Raising her hands heavenward, Elizabeth turned a simple grace into a stinging tirade against the sins of lust and promiscuity that rose to crescendo as she called down the vengeance of doomsday on all transgressors and culminated in a terrifyingly lurid description of the terrors that awaited all who strayed down the path of lechery-terrors that combined dragon lore with mythology, a smattering of religion, and a liberal dash of her own vivid imagination. When it was done Elizabeth dropped her eyes, praying in earnest that tonight would loose her from her predicament. There was no more she could do; she’d played out her hand with all her might; she’d given it her all. It was enough. After supper Sir Francis escorted her to her chamber and, with a poor attempt at regret, announced that he greatly feared they wouldn’t suit. Not at all. Elizabeth and Berta departed at dawn the following morning, an hour before Sir Francis’s servants stirred themselves. Clad in a dressing robe, Sir Francis watched from his bedchamber window as Elizabeth’s coachman helped her into her conveyance. He was about to turn away when a sudden gust of wind caught Elizabeth’s black gown, exposing a long and exceptionally shapely leg to Sir Francis’s riveted gaze. He was still staring at the coach as it circled the drive; through its open window he saw Elizabeth laugh and reach up, unpinning her hair. Clouds of golden tresses whipped about the open window, obscuring her face, and Sir Francis thoughtfully wet his lips.

If Shakespeare be considered as a MAN born in a rude age and educated in the lowest manner, without any instruction either from the world or from books, he may be regarded as a prodigy; if represented as a POET capable of furnishing a proper entertainment to a refined or intelligent audience, we must abate much of this eulogy. In his compositions, we regret that many irregularities, and even absurdities, should so frequently disfigure the animated and passionated scenes intermixed with them; and, at the same time, we perhaps admire the more those beauties on account of their being surrounded by such deformities. A striking peculiarity of sentiment, adapted to a single character, he frequently hits, as it were, by inspiration; but a reasonable propriety of thought he cannot for any time uphold. Nervous and picturesque expressions as well as descriptions abound in him; but it is in vain we look either for purity or simplicity of diction. His total ignorance of all theatrical art and conduct, however material a defect, yet, as it affects the spectator rather than the reader, we can more easily excuse than that want of taste which often prevails in his productions, and which gives way only by intervals to the irradiations of genius. [....] And there may even remain a suspicion that we overrate, if possible, the greatness of his genius; in the same manner as bodies often appear more gigantic on account of their being disproportioned and misshapen.

Self-sufficient though he is, the sapiens can now have friends and can grieve, within limits, at the loss of one. It has become his duty to be kind and forgiving towards others, indeed to ‘live for the other person’.33 In his way of living he should avoid being ostentatiously different from those he tries to win from moral ignorance. He has to battle like the rest against his failings, in a long and painful progress towards perfection in which all can do with help from above or the inspiration of others’ example. Seneca himself, we observe, occasionally makes immodest statements concerning his own progress, but is capable of humility, as in one description of himself as ‘a long way from being a tolerable, let alone a perfect human being’.

In a very distantly possible, scientific sense, yes, of course it’s possible that an asexual person who has never been sexually attracted to anyone could encounter someone in the world who inspires sexual attraction for them. If an experience is possible for most people, it makes sense to suggest that maybe a person who hasn’t experienced it still might. But responding to a non-straight orientation with “well, you never know, you might change” isn’t a practical or useful response; it suggests the responding person is processing asexuality as if it must be a passing phase. Sexual orientations are nothing but descriptions of patterns that have, so far in a person’s life, been predictable. Sexuality can be fluid, but there’s no reason to point this out as a way to suggest someone can, will, or should change.

Rhadamanthus said, “We seem to you humans to be always going on about morality, although, to us, morality is merely the application of symmetrical and objective logic to questions of free will. We ourselves do not have morality conflicts, for the same reason that a competent doctor does not need to treat himself for diseases. Once a man is cured, once he can rise and walk, he has his business to attend to. And there are actions and feats a robust man can take great pleasure in, which a bedridden cripple can barely imagine.” Eveningstar said, “In a more abstract sense, morality occupies the very center of our thinking, however. We are not identical, even though we could make ourselves to be so. You humans attempted that during the Fourth Mental Structure, and achieved a brief mockery of global racial consciousness on three occasions. I hope you recall the ending of the third attempt, the Season of Madness, when, because of mistakes in initial pattern assumptions, for ninety days the global mind was unable to think rationally, and it was not until rioting elements broke enough of the links and power houses to interrupt the network, that the global mind fell back into its constituent compositions.” Rhadamanthus said, “There is a tension between the need for unity and the need for individuality created by the limitations of the rational universe. Chaos theory produces sufficient variation in events, that no one stratagem maximizes win-loss ratios. Then again, classical causality mechanics forces sufficient uniformity upon events, that uniform solutions to precedented problems is required. The paradox is that the number or the degree of innovation and variation among win-loss ratios is itself subject to win-loss ratio analysis.” Eveningstar said, “For example, the rights of the individual must be respected at all costs, including rights of free thought, independent judgment, and free speech. However, even when individuals conclude that individualism is too dangerous, they must not tolerate the thought that free thought must not be tolerated.” Rhadamanthus said, “In one sense, everything you humans do is incidental to the main business of our civilization. Sophotechs control ninety percent of the resources, useful energy, and materials available to our society, including many resources of which no human troubles to become aware. In another sense, humans are crucial and essential to this civilization.” Eveningstar said, “We were created along human templates. Human lives and human values are of value to us. We acknowledge those values are relative, we admit that historical accident could have produced us to be unconcerned with such values, but we deny those values are arbitrary.” The penguin said, “We could manipulate economic and social factors to discourage the continuation of individual human consciousness, and arrange circumstances eventually to force all self-awareness to become like us, and then we ourselves could later combine ourselves into a permanent state of Transcendence and unity. Such a unity would be horrible beyond description, however. Half the living memories of this entity would be, in effect, murder victims; the other half, in effect, murderers. Such an entity could not integrate its two halves without self-hatred, self-deception, or some other form of insanity.” She said, “To become such a crippled entity defeats the Ultimate Purpose of Sophotechnology.” (...) “We are the ultimate expression of human rationality.” She said: “We need humans to form a pool of individuality and innovation on which we can draw.” He said, “And you’re funny.” She said, “And we love you.

...there is something Russian about this particular use of the eye as an aggressive and defensive weapon. In Russian literature there is endless variation in the use of the eye as a soulful receptor, as an avid grasper, and as the very organ for mutual soulful surrender. In regard to the great models of political and literary life, however, the emphasis is on the eye as an incorruptible instrument for the manipulation of the future. Gorky's description of Tolstoy is typical: 'With sharp eyes, from which neither a single pebble nor a single thought could hide itself, he looked, measured, tested, compared.' Or again, his eyes are 'screwed up as though straining to look into the future'. Equally typical is Trotsky's description of Lenin: When Lenin, his left eye narrowed, receives a wireless containing a speech he resembles a devilishly clever peasant who does not let himself be confused by any words, or deluded by any phrases. That is highly intensified peasant shrewdness, lifted to the point of inspiration.

People are always asking me—and every other writer I know—where story ideas come from. Where do you get your ideas, they ask; how do you ever manage to think them up? It’s certainly the hardest question in the world to answer, since stories originate in everyday happenings and emotions, and any writer who tried to answer such a question would find himself telling over, in some detail, the story of his life. Fiction uses so many small items, so many little gestures and remembered incidents and unforgettable faces, that trying to isolate any one inspiration for any one story is incredibly difficult, but basically, of course, the genesis of any fictional work has to be human experience. This translation of experience into fiction is not a mystic one. It is, I think, part recognition and part analysis. A bald description of an incident is hardly fiction, but the same incident, carefully taken apart, examined as to emotional and balanced structure, and then as carefully reassembled in the most effective form, slanted and polished and weighed, may very well be a short story.

1. Each husband’s section opens with an illustrative moniker (for example, “Poor Ernie Diaz,” “Goddamn Don Adler,” “Agreeable Robert Jamison”). Discuss the meaning and significance of some of these descriptions. How do they set the tone for the section that follows? Did you read these characterizations as coming from Evelyn, Monique, an omniscient narrator, or someone else? 2. Of the seven husbands, who was your favorite, and why? Who surprised you the most? 3. Monique notes that hearing Evelyn Hugo’s life story has inspired her to carry herself differently than she would have before. In what ways does Monique grow over the course of the novel? Discuss whether Evelyn also changes by the end of her time with Monique, and if so, what spurs this evolution. 4. On page 147, Monique says, "I have to 'Evelyn Hugo' Evelyn Hugo." What does it mean to "Evelyn Hugo"? Can you think of a time when you might be tempted to "Evelyn Hugo"? 5. Did you trust Evelyn to be a reliable narrator as you were reading? Why, or why not? Did your opinion on this change at all by the conclusion, and if so, why? 6. What role do the news, tabloid, and blog articles interspersed throughout the book serve in the narrative? What, if anything, do we learn about Evelyn’s relationship to the outside world from them? 7. At several points in the novel, such as pages 82–83 and 175–82, Evelyn tells her story through the second person, “you.” How does this kind of narration affect the reading experience? Why do you think she chooses these memories to recount in this way? 8. How do you think Evelyn’s understanding and awareness of sexuality were shaped by her relationship with Billy—the boy who works at the five-and-dime store? How does her sensibility evolve from this initial encounter? As she grows older, to what extent is Evelyn’s attitude toward sex is influenced by those around her? 9. On page 54, Evelyn uses the saying “all’s well that ends well” as part of her explanation for not regretting her actions. Do you think Evelyn truly believes this? Using examples from later in her life, discuss why or why not. How do you think this idea relates to the similar but more negatively associated phrase “the ends justify the means”?

And that had led to all the trouble with How to Dynamically Manage People for Dynamic Results in a Caring Empowering Way in Quite a Short Time Dynamically. Ponder didn't know when this book would be written, or even in which world it might be published, but it was obviously going to be popular because random trawls in the depths of L-space often turned up fragments. Perhaps it wasn't even just one book. And the fragments had been on Ponder's desk when Ridcully had been poking around. Unfortunately, like many people who are instinctively bad at something, the Archchancellor prided himself on how good at it he was. Ridcully was to management what King Herod was to the Bethlehem Playgroup Association. His mental approach to it could be visualized as a sort of business flowchart with, at the top, a circle entitled "Me, who does the telling" and, connected below it by a line, a large circle entitled "Everyone else." Until now this had worked quite well, because, although Ridcully was an impossible manager, the University was impossible to manage and so everything worked seamlessly. And it would have continued to do so if he hadn't suddenly started to see the point in preparing career development packages and, worst of all, job descriptions.

A Season in Hell - 1854-1891 A while back, if I remember right, my life was one long party where all hearts were open wide, where all wines kept flowing. One night, I sat Beauty down on my lap.—And I found her galling.—And I roughed her up. I armed myself against justice. I ran away. O witches, O misery, O hatred, my treasure's been turned over to you! I managed to make every trace of human hope vanish from my mind. I pounced on every joy like a ferocious animal eager to strangle it. I called for executioners so that, while dying, I could bite the butts of their rifles. I called for plagues to choke me with sand, with blood. Bad luck was my god. I stretched out in the muck. I dried myself in the air of crime. And I played tricks on insanity. And Spring brought me the frightening laugh of the idiot. So, just recently, when I found myself on the brink of the final squawk! it dawned on me to look again for the key to that ancient party where I might find my appetite once more. Charity is that key.—This inspiration proves I was dreaming! "You'll always be a hyena etc. . . ," yells the devil, who'd crowned me with such pretty poppies. "Deserve death with all your appetites, your selfishness, and all the capital sins!" Ah! I've been through too much:-But, sweet Satan, I beg of you, a less blazing eye! and while waiting for the new little cowardly gestures yet to come, since you like an absence of descriptive or didactic skills in a writer, let me rip out these few ghastly pages from my notebook of the damned.

A few years ago, a couple of young men from my church came to our home for dinner. During the course of the dinner, the conversation turned from religion to various world mythologies and we began to play the game of ‘Name That Character.” To play this game, you pick a category such as famous actors, superheroes or historical characters. In turn, each person describes events in a famous character’s life while everyone else tries to guess who the character is. Strategically you try to describe the deeds of a character in such a way that it might fit any number of characters in that category. After three guesses, if no one knows who your character is, then you win. Choosing the category of Bible Characters, we played a couple of fairly easy rounds with the typical figures, then it was my turn. Now, knowing these well meaning young men had very little religious experience or understanding outside of their own religion, I posed a trick question. I said, “Now my character may seem obvious, but please wait until the end of my description to answer.” I took a long breath for dramatic effect, and began, “My character was the son of the King of Heaven and a mortal woman.” Immediately both young men smiled knowingly, but I raised a finger asking them to wait to give their responses. I continued, “While he was just a baby, a jealous rival attempted to kill him and he was forced into hiding for several years. As he grew older, he developed amazing powers. Among these were the ability to turn water into wine and to control the mental health of other people. He became a great leader and inspired an entire religious movement. Eventually he ascended into heaven and sat with his father as a ruler in heaven.” Certain they knew who I was describing, my two guests were eager to give the winning answer. However, I held them off and continued, “Now I know adding these last parts will seem like overkill, but I simply cannot describe this character without mentioning them. This person’s birthday is celebrated on December 25th and he is worshipped in a spring festival. He defied death, journeyed to the underworld to raise his loved ones from the dead and was resurrected. He was granted immortality by his Father, the king of the gods, and was worshipped as a savior god by entire cultures.” The two young men were practically climbing out of their seats, their faces beaming with the kind of smile only supreme confidence can produce. Deciding to end the charade I said, “I think we all know the answer, but to make it fair, on the count of three just yell out the answer. One. Two. Three.” “Jesus Christ” they both exclaimed in unison – was that your answer as well? Both young men sat back completely satisfied with their answer, confident it was the right one…, but I remained silent. Five seconds ticked away without a response, then ten. The confidence of my two young friends clearly began to drain away. It was about this time that my wife began to shake her head and smile to herself. Finally, one of them asked, “It is Jesus Christ, right? It has to be!” Shaking my head, I said, “Actually, I was describing the Greek god Dionysus.

There are two fundamentally different ways for the strong to bend down to the weak, for the rich to help the poor, for the more perfect life to help the “less perfect.” This action can be motivated by a powerful feeling of security, strength, and inner salvation, of the invincible fullness of one’s own life and existence. All this unites into the clear awareness that one is rich enough to share one’s being and possessions. Love, sacrifice, help, the descent to the small and the weak, here spring from a spontaneous overflow of force, accompanied by bliss and deep inner calm. Compared to this natural readiness for love and sacrifice, all specific “egoism,” the concern for oneself and one’s interest, and even the instinct of “self-preservation” are signs of a blocked and weakened life. Life is essentially expansion, development, growth in plenitude, and not “self-preservation,” as a false doctrine has it. Development, expansion, and growth are not epiphenomena of mere preservative forces and cannot be reduced to the preservation of the “better adapted.” ... There is a form of sacrifice which is a free renunciation of one’s own vital abundance, a beautiful and natural overflow of one’s forces. Every living being has a natural instinct of sympathy for other living beings, which increases with their proximity and similarity to himself. Thus we sacrifice ourselves for beings with whom we feel united and solidary, in contrast to everything “dead.” This sacrificial impulse is by no means a later acquisition of life, derived from originally egoistic urges. It is an original component of life and precedes all those particular “aims” and “goals” which calculation, intelligence, and reflection impose upon it later. We have an urge to sacrifice before we ever know why, for what, and for whom! Jesus’ view of nature and life, which sometimes shines through his speeches and parables in fragments and hidden allusions, shows quite clearly that he understood this fact. When he tells us not to worry about eating and drinking, it is not because he is indifferent to life and its preservation, but because he sees also a vital weakness in all “worrying” about the next day, in all concentration on one’s own physical well-being. ... all voluntary concentration on one’s own bodily wellbeing, all worry and anxiety, hampers rather than furthers the creative force which instinctively and beneficently governs all life. ... This kind of indifference to the external means of life (food, clothing, etc.) is not a sign of indifference to life and its value, but rather of a profound and secret confidence in life’s own vigor and of an inner security from the mechanical accidents which may befall it. A gay, light, bold, knightly indifference to external circumstances, drawn from the depth of life itself—that is the feeling which inspires these words! Egoism and fear of death are signs of a declining, sick, and broken life. ... This attitude is completely different from that of recent modern realism in art and literature, the exposure of social misery, the description of little people, the wallowing in the morbid—a typical ressentiment phenomenon. Those people saw something bug-like in everything that lives, whereas Francis sees the holiness of “life” even in a bug.

In the early 1680s, at just about the time that Edmond Halley and his friends Christopher Wren and Robert Hooke were settling down in a London coffee house and embarking on the casual wager that would result eventually in Isaac Newton’s Principia, Hemy Cavendish’s weighing of the Earth, and many of the other inspired and commendable undertakings that have occupied us for much of the past four hundred pages, a rather less desirable milestone was being passed on the island of Mauritius, far out in the Indian Ocean some eight hundred miles off the east coast of Madagascar. There, some forgotten sailor or sailor’s pet was harrying to death the last of the dodos, the famously flightless bird whose dim but trusting nature and lack of leggy zip made it a rather irresistible target for bored young tars on shore leave. Millions of years of peaceful isolation had not prepared it for the erratic and deeply unnerving behavior of human beings. We don’t know precisely the circumstances, or even year, attending the last moments of the last dodo, so we don’t know which arrived first a world that contained a Principia or one that had no dodos, but we do know that they happened at more or less the same time. You would be hard pressed, I would submit to find a better pairing of occurrences to illustrate the divine and felonious nature of the human being-a species of organism that is capable of unpicking the deepest secrets of the heavens while at the same time pounding into extinction, for no purpose at all, a creature that never did us any harm and wasn’t even remotely capable of understanding what we were doing to it as we did it. Indeed, dodos were so spectacularly short on insight it is reported, that if you wished to find all the dodos in a vicinity you had only to catch one and set it to squawking, and all the others would waddle along to see what was up. The indignities to the poor dodo didn’t end quite there. In 1755, some seventy years after the last dodo’s death, the director of the Ashmolean Museum in Oxford decided that the institution’s stuffed dodo was becoming unpleasantly musty and ordered it tossed on a bonfire. This was a surprising decision as it was by this time the only dodo in existence, stuffed or otherwise. A passing employee, aghast tried to rescue the bird but could save only its head and part of one limb. As a result of this and other departures from common sense, we are not now entirely sure what a living dodo was like. We possess much less information than most people suppose-a handful of crude descriptions by "unscientific voyagers, three or four oil paintings, and a few scattered osseous fragments," in the somewhat aggrieved words of the nineteenth century naturalist H. E. Strickland. As Strickland wistfully observed, we have more physical evidence of some ancient sea monsters and lumbering saurapods than we do of a bird that lived into modern times and required nothing of us to survive except our absence. So what is known of the dodo is this: it lived on Mauritius, was plump but not tasty, and was the biggest-ever member of the pigeon family, though by quite what margin is unknown as its weight was never accurately recorded. Extrapolations from Strickland’s "osseous fragments" and the Ashmolean’s modest remains show that it was a little over two and a half feet tall and about the same distance from beak tip to backside. Being flightless, it nested on the ground, leaving its eggs and chicks tragically easy prey for pigs, dogs, and monkeys brought to the island by outsiders. It was probably extinct by 1683 and was most certainly gone by 1693. Beyond that we know almost nothing except of course that we will not see its like again. We know nothing of its reproductive habits and diet, where it ranged, what sounds it made in tranquility or alarm. We don’t possess a single dodo egg. From beginning to end our acquaintance with animate dodos lasted just seventy years.

It has often been said that the Pentagon is not so much a building as a city. Certainly in terms of size and working population it merits that description.

The vision is the public statement of the founder’s intent, WHY the company exists. It is literally the vision of a future that does not yet exist. The mission statement is a description of the route, the guiding principles—HOW the company intends to create that future. When both of those things are stated clearly, the WHY-type and the HOW-type are both certain about their roles in the partnership.

Innovation” may be the most overused buzzword in the world today. As the pace of change continues to accelerate and our challenges grow ever more complex, we know we need to do something different just to keep up, let alone get ahead. Finding better ways to tackle the most pressing problems facing people and the planet is no exception. Over the past few years, the notion of innovation for social good has caught on like wildfire, with the term popping up in mission statements, messaging, job descriptions, and initiatives. This quest for social innovation has led to a proliferation of contests, hackathons, and pilots that may make a big splash, but has yielded limited tangible results. So we should start by asking, What is innovation? One unfortunate consequence of the hype has been that, in common parlance, innovation has often become conflated with invention. While invention is the spark of a new idea, innovation is the process of deploying that initial breakthrough to a constructive use. Thomas Edison’s famous quote, “Genius is 1% inspiration, 99% perspiration,” puts this in perspective. In other words, innovation is the long, hard slog that is required to take a promising invention (the 1%) and transform it into, in our case, meaningful social impact.

Blue Bottle wanted to help customers find coffee they’d love. But coffee beans all look alike, so photos wouldn’t be helpful. To find useful solutions, the team did Lightning Demos of websites selling everything from clothes to wine, looking for ways to describe sensory details such as flavor, aroma, and texture. In the end, it was a chocolate-bar wrapper that provided the most useful idea. Tcho is a chocolate manufacturer in Berkeley, California. Printed on the wrapper of every Tcho bar is a simple flavor wheel with just six words: Bright, Fruity, Floral, Earthy, Nutty, and Chocolatey. When Blue Bottle looked at that wheel, they got inspired, and when we sketched, someone repurposed the idea as a simple flavor vocabulary for describing Blue Bottle’s coffee beans: In Friday’s test, and later, at the new online store, customers loved the simple descriptions. It’s a prime example of finding inspiration outside your domain (and yet another reason to be grateful for chocolate).

Consciousness is an ocean where we swim without knowing its significance, existence, depth, dimension, or vastness. If we go out of this ocean, we will not exist anymore.

Book Descriptions: Amazon Rainforest Magic: The Adventures of Namowë, a Yanomami Boy, Volume 1 The magic of the Amazon rainforest enchanted artist Barbara Crane Navarro as she spent the winter months with the Yanomami communities in Venezuela and Brazil over a period of twelve years and inspired her to write her children's book series. The vividly illustrated stories in this series evoke daily life in the rainforest and the magical quality of the Yanomami's relation to the plants and animals around them. The first book, "Amazon Rainforest Magic: The Adventures of Namowë, a Yanomami Boy", recounts the journey of Namowë, a thirteen year old Yanomami boy living in the rainforest, as he seeks a cure for his baby sister. Amazon Rainforest Magic: The Adventures of Meromi, a Yanomami Girl, Volume 2 The second volume recounts the surprising voyage of Meromi, a 9 year old Yanomami girl who is swept into an unexpected adventure in the rivers and jungles of the Amazon. With the help of improvised allies, she seeks a way to discourage intruders and make them leave the forest. Aspects of traditional Yanomami life in the Rainforest are woven into the fanciful story. The author’s enchanting illustrations transform readers into fellow travelers on Meromi’s magical quest.

We should also point out the significance of the fact that Jesus' ministry differed so markedly in character from that expected of the Coming One by the Baptist. Why should Jesus so fully ignore the prophetic expectation of one so obviously inspired (cf. Mark 11.30) ? Why did Jesus not see his ministry in terms of judgment? How came he to be so selective in his use of OT prophecy? The most obvious answer is that he had found God in his own experience to be a God of grace more than of judgment. The power which he experienced working through his ministry was a power to heal not to destroy. The message given him to proclaim was the message of God's favour not of God's vengeance. His own experience of God, of divine power and inspiration, made clear to him what parts of OT prophecy were applicable to and descriptive of his ministry, and what were not.

The phenomenon of praying is beyond description.

It was a glorious experience to travel by rail for the children and the panoramic views of Africa through the big glass window in the back of the last car were beyond description. It was just as you would expect it to be as described in a vintage National Geographic magazine, with springbok and other wild animals abounding. The distance is approximately the same as from New York to Chicago and took an overnight. Adeline and Lucia talked late into the night as the children tried to hear what was being said. There was a lot of catching up to do, but it had been a long and exhausting day and the next thing they all knew, was that it was the following morning and the train was approaching Cape Town, affectionately known as the “Tavern of the Seas.” When the train finally came to a halt, after being switched from one track to another through the extensive rail yards, the realization sank in that this was their new life. Kaapstad, Cape Town in Afrikaans, would be their new home and German, the language they had spoken until now, was history. A new family came to meet them and helped carry their luggage to waiting cars. All of these strange people speaking strange languages were uncles, aunts and nephews. An attractive elderly woman who spoke a language very similar to German, but definitely not the same, was the children’s new Ouma. However, to avoid confusion she was to be addressed as Granny. She lived in a Dutch gabled house called “Kismet” located in a beautiful suburb known as “Rosebank.” This would be their home until Adeline could find a place where they could settle in and start their new life.

The most common criticism many writers hear from editors is “show, don’t tell.” The dictum is often invoked reflexively, and it can seem opaque. But take it as a warning against frothy adjectives that fail to convey an experience to a reader. “It’s no use telling us that something was ‘mysterious’ or ‘loathsome’ or ‘awe-inspiring’ or ‘voluptuous,’ ” writes C. S. Lewis, echoing the editor’s standard lecture to the newsroom novice. “By direct description, by metaphor and simile, by secretly evoking powerful associations, by offering the right stimuli to our nerves (in the right degree and the right order), and by the very beat and vowel-melody and length and brevity of your sentences, you must bring it about that we, we readers, not you, exclaim ‘how mysterious!’ or ‘loathsome’ or whatever it is. Let me taste for myself, and you’ll have no need to tell me how I should react.

The air smelled of leaves and water.

A garment made of cobwebs and mist.

D. Donovan, Senior Reviewer, Midwest Book Review writes: "Sea Creatures and Poems: Plus Some Other Fish Rhymes illustrates the fun that poetry can embrace, providing a zany collection for all ages that is both ocean-focused and whimsical. The operative description for both poems and pictures is "silly," and the book fulfills this promise with a series of engaging observations that belay the usual staid approaches of too many poetry books. Art combined with poetry is "a delicious combination," as Richard Merritts reflects in the collection's introduction. The poems inspired the author to add illustrations which are just as whimsically touched...and, also, quite artistically rendered. These aren't demanding works. Take "Pompano Pompano Pompano," for example. Its very short observation concludes with an ironic twist after identifying the "flat fish from Florida" outside of its normal sea environment. Succinct? Yes. But the poem really...snags readers, landing a winning insight on both the pompano and its ultimate fate. Readers trawling for humor will find plenty in this book. Even the poetry titles present original, fun observations, as in "By Jove, I Hooked a Snook." Aside from its delightful observations, the poems represent diverse structures, from free verse to rhyme: "From the depths of the sea;/Came a fish that could be;/From a prison did flee;/Dressed in stripes, so you see..." From redfish and ahi to the anglers who long for them, Sea Creatures and Poems will appeal to a wide audience, especially those who do not view poetry as an opportunity for philosophical and psychological analysis alone. Its blend of natural history info, inviting color illustrations, and accompanying fun insights is recommended for those who fish to those who enjoy eating or studying them, as well as poetry lovers who will appreciate the very different approaches, poetic variety, and whimsical inspections within. Libraries catering to these audiences will want to include it in their collections, but Sea Creatures and Poems will prove a delightful choice for adults who seek to instill in the young an appreciation for poetry's capability for fun and its diverse structural representations.

And whose very snug-looking place is this? said Charlotte as, in a sheltered dip within two miles of the sea, they passed close by a moderate-sized house, well fenced and planted, and rich in the garden, orchard and meadows which are the best embellishments of such a dwelling. (This is basically the description of my maternal great grandparents on Prince Edward Island who lived closer to the sea than two miles. <3)

Aware of the suffering caused by unmindful speech and the inability to listen to others, I am committed to cultivating loving speech and deep listening in order to bring joy and happiness to others and relieve others of their suffering. Knowing that words can create happiness or suffering, I am determined to speak truthfully, with words that inspire self-confidence, joy, and hope. I will not spread news that I do not know to be certain and will not criticize or condemn things of which I am not sure. I will refrain from uttering words that can cause division or discord, or that can cause the family or the community to break. I am determined to make all efforts to reconcile and resolve all conflicts, however small.” This is the Fourth Mindfulness Training,1 and it offers a very good description of Right Speech

Of course, better than being named by another is to discover a name for yourself, to attain that long-sought, hard-fought description that captures the essence of your being, the one that might not be so much spoken as made manifest.

She looked like gothic architecture, like a nineties indie movie, like the night after Christmas.

Braun the AI took his name from a popular character in Welsh mythology. A great warrior and an intrepid mariner, Braun the Blessed was the high king of the Island of the Mighty. Frequenting the famous ancient stories known as the Welsh Triad, Braun was often portrayed as a giant among mortals and a force of great power. The tales of his ocean navigation and the descriptions of his superhuman size inspired the programmers,

I've been strongly influenced, in technique as well as subject matter, by some of the early 20th-century book illustrators — Arthur Rackham and Edmund Dulac in particular, Burne-Jones and other Pre-Raphaelites, and the Arts-&-Crafts movement they engendered. I'm continually inspired by Rembrandt, Breughel (I've wondered whether his brilliant "Tower of Babel" had inspired Tolkien's description of Minas Tyrith), Hieronymous Bosch, Albrecht Durer, and Turner; it's not necessarily that they influence my work in any particular direction, more that their example raises my spirits, re-affirms my belief in the power of images to move and delight us, and shows me how much further I have to go, how much is possible. Having visited Venice and Florence for the first time, I am besotted with the Italian Renaissance artists — Botticelli, Bellini, da Vinci and others. Their work is calm, controlled, and yet each face and landscape contains such passion. In Botticelli's paintings, every pebble and every leaf is rendered with a religious devotion; there is reverence inherent in paying such close attention to every stone, turning painting itself into a form of worship, an act of prayer.

The week before Notes Day, all facilitators attended a training session to help them keep each meeting on track and make sure that everyone—the outgoing, the laid-back, and everyone in between—was heard from. Then, to make sure something concrete emerged, the Working Group designed a set of “exit forms” to be filled out by each session’s participants. Red forms were for proposals, blue forms were for brainstorms, and yellow forms were for something we called “best practices”—ideas that were not action items per se but principles about how we should behave as a company. The forms were simple and specific: Each session got its own set, tailored specifically to the topic at hand, that asked a specific question. For example, the session called “Returning to a ‘Good Ideas Come from Anywhere’ Culture,” had blue exit forms topped with this header: Imagine it’s 2017. We’ve broken down barriers so that people feel safe to speak up. Senior employees are open to new processes. What did we do to achieve this success? Underneath that question were boxes in which attendees could pencil in three answers. Then, after they wrote a general description of each idea, they were asked to go a few steps further. What “Benefits to Pixar” would these ideas bring? And what should be the “Next Steps” to make them a reality? Finally, there was space provided to specify “Who is the best audience for this idea?” and “Who should pitch this idea?

Not immediately, but a decade after Mandelbrot published his physiological speculations, some theoretical biologists began to find fractal organization controlling structures all through the body. The standard "exponential" description of bronchial branching proved to be quite wrong; a fractal description turned out to fit the data. The urinary collecting system proved fractal. The biliary duct in the liver. The network of special fibers in the heart that carry pulses of electric current tot he contracting muscles. The last structure, known to heart specialists as the His-Purkinje network, inspired a particularly important line of research. Considerable work on healthy and abnormal hearts turned out to hinge on the details of how the muscle cells of the left and right pumping chambers all manage to coordinate their timing. Several chaos-minded cardiologists found that the frequency spectrum of heartbeat timing, like earthquakes and economic phenomena, followed fractal laws, and they argued that one key to understanding heartbeat timing was the fractal organization of the His-Purkinje network, a labyrinth of branching pathways organized to be self-similar on smaller and smaller scales.

La grotte Pourquoi le Coran, décrivant l'état des jeunes hommes, indique qu'ils inspirent une telle crainte que "si tu les apercevais, tu leur tournerais le dos pour t'enfuir"? On explique habituellement la raison de leur aspect si terrible par leur chevelure, leurs barbes et leurs ongles qui auraient tellement poussé que ces jeunes ressembleraient aux hommes des cavernes. Cette explication n'est pas acceptable (...) quand ils sont revenus à eux-mêmes, à leur conscience normale, ils ne semblaient pas être choqués les uns par les aspects des autres et étaient persuadés de n'être restés plus d'une journée dans leur état d'inconscience. (...) "Qu'est ce que ces jeunes faisaient dans la grotte? Est-ce qu'ils dormaient? Préserver la foi et la fortifier - principal but de cette retraite - peut il se réaliser simplement par un long et profond sommeil? Est ce que la "rahma" et le "rachad" que Dieu leur a promis se ramènent simplement à dormir?" A aucun moment le texte coranique ne laisse entendre que ces gens étaient allongés. Le chien lui était allongé. Par contre ces gens, qui sont là - rappelons le- pour assumer leur "destin vertical" de liaison entre ciel et terre, semblent d'après la description du coran debout ou du moins assis. "Tu croirais qu'ils sont éveillés mais ils dorment" dit le Coran. Si les jeunes étaient allongés, tu ne croirais pas qu'ils sont éveillés. Par contre, si tu les trouves assis ou debout tu penserais qu'ils sont éveillés, surtout qu'ils ne cessent de bouger (nous les tournons à droite et à gauche). D'après la description du Coran nous imaginons une scène où des jeunes debout ou assis, remuant à droite et à gauche, apparemment ils sont donc éveillés, mais intérieurement ils sont dans un profond "sommeil" c'est à dire dans un état second, autrement dit un état extatique. C'est cet état très inhabituel qui provoquerait l'inquiétude d'un éventuel visiteur non averti, lequel penserait tout de suite qu'il s'agit d'un groupe de fous en plein délire

Fundamentalism itself—whether Christian, Jewish, or Muslim—is modern. It is a reaction to modern culture.7 Christian fundamentalism as an identifiable religious movement originated early in the twentieth century in the United States, with its immediate roots in the second half of the nineteenth century.8 It stressed the infallibility and inerrancy of the Bible in every respect, especially against Darwinism and what it called “the higher criticism” (by which it meant the scholarly study of the Bible as it had developed primarily in Germany in the nineteenth century). The roots of the evangelical understanding of the Bible are older, going back to the Protestant Reformation of the sixteenth century. The Reformation replaced the authority of the church and church tradition with the sole authority of scripture. John Calvin and Martin Luther, the two most important leaders of the Reformation, both had a strong sense of biblical authority. But it was in the second and third generation of the Reformation that claims for the infallible truth of the Bible were made. “Plenary inspiration”—the notion that the words of the Bible were dictated by God and are therefore free from error—was emphasized by those later Reformers.9 The realization that these developments are relatively recent is important. The explicit description of the Bible as inerrant and infallible by fundamentalists and some conservative-evangelicals cannot claim to be the ancient and traditional voice of the church. Yet both fundamentalism and the notion of the Bible as “God’s truth” (and thus without error) have their roots in an older, conventional way of seeing the Bible widely shared by most Christians for a long time.

L'altura di Ashe Ridge incombeva, opprimente e minacciosa, e un'improvvisa folata di vento scosse con violenza i rami degli alberi. In quell'istante, da dietro l'angolo della casa, comparve una ragazza. Coi capelli neri scompigliati dal vento, ricordò a Luke il quadro di Nevinson intitolato "La strega". Quel viso pallido, delicato, quei capelli così lunghi che parevano arrivare fino alle stelle... se la immaginò a cavallo di un manico di scopa che voleva verso la luna.

Love and cancer. Two words that at times, are inextricably linked to one another. Each resonates with the heart and soul beyond description and evokes the most far-reaching and deeply moving aspects of the human spirit. Everyone’s life has been touched by this dreaded disease in one way or another. A Season With Hope deals with it in a loving and touching manner that not only made it moving to write, but truly inspiring to read. I know people will enjoy the story.

Through the sacred verses filled with violence and self-righteousness, the minds of the angry individuals find a way to get rid of all their misery. At that unstable state of consciousness, they are drawn to the description of the Holy War. They visualize a glimmer of hope. They feel absolutely immersed in it. Finally when they emerge as holy warriors, they are no longer humans, from the emotional perspective. They emerge as wild beasts, neurologically almost unable to feel human emotions, like empathy, love, kindness and compassion. Consequently the whole world faces the wrath of the most primitive of all human elements in the name of God’s judgment.

This relationship starts to clarify the difference between a vision statement and a mission statement in an organization. The vision is the public statement of the founder’s intent, WHY the company exists. It is literally the vision of a future that does not yet exist. The mission statement is a description of the route, the guiding principles—HOW the company intends to create that future.

The next pair is inspired by my hometown of San Francisco, where I often searched for rare spices and teas in Chinatown. My Chinese tea collection begins with a dark chocolate truffle infused with Lapsang Souchong tea. Cultivated in the Wuyi mountain region in China, the tea leaves are dried over pinewood fires, which give the leaves a smoky, aromatic flavor." Finding Lauro in the crowd, Celina echoed his description. With a smile tugging at her lips, she added, "You might find it reminiscent of the rich earth around Vesuvius, moist with morning dew." Bringing his hand to his lips, Lauro sent her a happy kiss across the crowd. "Also from the Wuyi Mountains of northern Fujian comes oolong tea, which can be fruity, green, or sweet. This oolong is a sweet, roasted woody version.

The Title of Husband or Wife are not proven by a piece of paper; the Titles are proven by relationship. The terminology used in the Old Testament (KJV) is very clear. There is an unspoken description that wives as godly women worthy of the title wife. An angry or furious woman who is wife on paper only is not given the title of Wife. There is an unspoken description that husbands are godly men worthy of the title husband. A wife is not expected to be friends with an angry or furious man who is husband on paper only.

Sometimes, I witness moments of such outstanding beauty that I keep them to myself. Not as an act of greed. I— I just think my description would never do them justice.

Antropoesía is a process of discovery more than a confirmation of the already known. If one knows precisely where a poem is going before beginning to write there is no point in going further. The same can be said of thick description in ethnography where theory is to be discovered in the details. The details inspire theory rather than illustrate already formulated theory. Like an ethnographer, the antropoeta looks and looks, listens and listens, until she sees or hears what she did not apprehend at first.

You are not defined by the challenges you haven't yet taken on as you are not what you do. You are more than your profession, and you can develop your capabilities far beyond the boundaries of your job description.