Instrument Passion Quotes

What do you think an artist is? ...he is a political being, constantly aware of the heart breaking, passionate, or delightful things that happen in the world, shaping himself completely in their image. Painting is not done to decorate apartments. It is an instrument of war.

She'd been impressed by his looks at first--those sharply planed cheekbones and those black, fathomless eyes--but his affable, sympathetic personality grated on her now. She didn't like boys who looked as if they never got mad about anything. In Isabelle's world, rage equaled passion equaled a good time.

She threw the door open. The room seemed to be a sort of library, the walls lined with books. It was brightly lit, light streaming through a tall picture window. In the middle of the room stood Jace. He wasn't alone, though-not by a long shot. There was a dark-haired girl with him, a girl Clary had never seen before, and the two of them were locked together in a passionate embrace

What do you think an artist is? An imbecile who only has eyes, if he is a painter, or ears if he is a musician, or a lyre in every chamber of his heart if he is a poet, or even, if he is a boxer, just his muscles? Far from it: at the same time he is also a political being, constantly aware of the heartbreaking, passionate, or delightful things that happen in the world, shaping himself completely in their image. How could it be possible to feel no interest in other people, and with a cool indifference to detach yourself from the very life which they bring to you so abundantly? No, painting is not done to decorate apartments. It is an instrument of war.

No, no, don't let my vulnerable heart share in this sacrifice to lust! Let him disgust me before pleasing me! Let him be what others have been, an instrument that I can break before becoming the echoes of its vibration.

We’re only instruments of love, flowing through heaps of pain hoping one day we’d hatch a passion of our own.

[W]e must learn to accommodate ourselves to the discovery that some of those cunningly-fashioned instruments called human souls have only a very limited range of music, and will not vibrate in the least under a touch that fills others with tremulous rapture or quivering agony.

Through her tears Clary could see them clinging to each other; there was a tenderness even in the curve of Magnus’s fingers around Alec’s shoulder as he bent to kiss him. It was a kiss of desperation and clutching more than passion; Magnus held on tightly enough for his fingers to bite into Alec’s arms, but in the end he stepped away, and turned towards his father.

I wait on my fix: I am a poetry junkie.

He was, I take it, the most perfect reasoning and observing machine that the world has seen, but as a lover he would have placed himself in a false position. He never spoke of the softer passions, save with a gibe and a sneer. They were admirable things for the observer- excellent for drawing the veil from men's motives and actions. But for the trained observer to admit such intrusions into his own delicate and finely adjusted temperament was to introduce a distracting factor which might throw a doubt upon all his mental results. Grit in a sensitive instrument, or a crack in one of his own high-power lenses, would not be more disturbing than a strong emotion in a nature such as his.

I saw a sick man pick up his instrument and be well

She sang, as requested. There was much about love in the ballad: faithful love that refused to abandon its object; love that disaster could not shake; love that, in calamity, waxed fonder, in poverty clung closer. The words were set to a fine old air -- in themselves they were simple and sweet: perhaps, when read, they wanted force; when well sung, they wanted nothing. Shirley sang them well: she breathed into the feeling, softness, she poured round the passion, force: her voice was fine that evening; its expression dramatic: she impressed all, and charmed one. On leaving the instrument, she went to the fire, and sat down on a seat -- semi-stool, semi-cushion: the ladies were round her -- none of them spoke. The Misses Sympson and the Misses Nunnely looked upon her, as quiet poultry might look on an egret, an ibis, or any other strange fowl. What made her sing so? They never sang so. Was it proper to sing with such expression, with such originality -- so unlike a school girl? Decidedly not: it was strange, it was unusual. What was strange must be wrong; what was unusual must be improper. Shirley was judged.

Don't panic, but we've got an audience." Clary turned her head. Perched on a nearby tree branch was Hugo, watching them beadily from bright black eyes. So the sound she'd heard had been wings rather than demented passion. That was disappointing.

There is evidence that the honoree [Leonard Cohen] might be privy to the secret of the universe, which, in case you're wondering, is simply this: everything is connected. Everything. Many, if not most, of the links are difficult to determine. The instrument, the apparatus, the focused ray that can uncover and illuminate those connections is language. And just as a sudden infatuation often will light up a person's biochemical atmosphere more pyrotechnically than any deep, abiding attachment, so an unlikely, unexpected burst of linguistic imagination will usually reveal greater truths than the most exacting scholarship. In fact. The poetic image may be the only device remotely capable of dissecting romantic passion, let alone disclosing the inherent mystical qualities of the material world. Cohen is a master of the quasi-surrealistic phrase, of the "illogical" line that speaks so directly to the unconscious that surface ambiguity is transformed into ultimate, if fleeting, comprehension: comprehension of the bewitching nuances of sex and bewildering assaults of culture. Undoubtedly, it is to his lyrical mastery that his prestigious colleagues now pay tribute. Yet, there may be something else. As various, as distinct, as rewarding as each of their expressions are, there can still be heard in their individual interpretations the distant echo of Cohen's own voice, for it is his singing voice as well as his writing pen that has spawned these songs. It is a voice raked by the claws of Cupid, a voice rubbed raw by the philosopher's stone. A voice marinated in kirschwasser, sulfur, deer musk and snow; bandaged with sackcloth from a ruined monastery; warmed by the embers left down near the river after the gypsies have gone. It is a penitent's voice, a rabbinical voice, a crust of unleavened vocal toasts -- spread with smoke and subversive wit. He has a voice like a carpet in an old hotel, like a bad itch on the hunchback of love. It is a voice meant for pronouncing the names of women -- and cataloging their sometimes hazardous charms. Nobody can say the word "naked" as nakedly as Cohen. He makes us see the markings where the pantyhose have been. Finally, the actual persona of their creator may be said to haunt these songs, although details of his private lifestyle can be only surmised. A decade ago, a teacher who called himself Shree Bhagwan Rajneesh came up with the name "Zorba the Buddha" to describe the ideal modern man: A contemplative man who maintains a strict devotional bond with cosmic energies, yet is completely at home in the physical realm. Such a man knows the value of the dharma and the value of the deutschmark, knows how much to tip a waiter in a Paris nightclub and how many times to bow in a Kyoto shrine, a man who can do business when business is necessary, allow his mind to enter a pine cone, or dance in wild abandon if moved by the tune. Refusing to shun beauty, this Zorba the Buddha finds in ripe pleasures not a contradiction but an affirmation of the spiritual self. Doesn't he sound a lot like Leonard Cohen? We have been led to picture Cohen spending his mornings meditating in Armani suits, his afternoons wrestling the muse, his evenings sitting in cafes were he eats, drinks and speaks soulfully but flirtatiously with the pretty larks of the street. Quite possibly this is a distorted portrait. The apocryphal, however, has a special kind of truth. It doesn't really matter. What matters here is that after thirty years, L. Cohen is holding court in the lobby of the whirlwind, and that giants have gathered to pay him homage. To him -- and to us -- they bring the offerings they have hammered from his iron, his lead, his nitrogen, his gold.

So sweet is this song that no one could resist it. For in it is all the passionate ache for the moonlight, and the great hunger of the sea, and the terror of desolate places,—all things that lure men to the unattainable. Omari tessala marax, tessala dodi phornepax amri radara poliax armana piliu amri radara piliu son; mari narya barbiton madara anaphax sarpedon andala hriliu Translation: I am the harlot that shaketh Death. This shaking giveth the Peace of Satiate Lust. Immortality jetteth from my skull, And music from my vulva. Immortality jetteth from my vulva also, For my Whoredom is a sweet scent like a seven-stringed instrument, Played unto God the Invisible, the all-ruler, That goeth along giving the shrill scream of orgasm. Every man that hath seen me forgetteth me never, and I appear oftentimes in the coals of the fire, and upon the smooth white skin of woman, and in the constancy of the waterfall, and in the emptiness of deserts and marshes, and upon great cliffs that look seaward; and in many strange places, where men seek me not. And many thousand times he beholdeth me not. And at last I smite myself into him as a vision smiteth into a stone, and whom I call must follow.

If you find yourself pulled beyond all practicality toward doing something -- writing poetry, building a business, restoring old cars, planting a secret garden; if at four in the morning the right word comes to you, the perfect flower to plant in that particular spot -- you are playing your invisible instrument.

Anger is an assertion of rights and worth. It is communication, equality, and knowledge. It is intimacy, acceptance, fearlessness, embodiment, revolt, and reconciliation. Anger is memory and rage. It is rational thought and irrational pain. Anger is freedom, independence, expansiveness, and entitlement. It is justice, passion, clarity, and motivation. Anger is instrumental, thoughtful, complicated, and resolved. In anger, whether you like it or not, there is truth. Anger is the demand of accountability, It is evaluation, judgment, and refutation. It is reflective, visionary, and participatory. It's a speech act, a social statement, an intention, and a purpose. It's a risk and a threat. A confirmation and a wish. It is both powerlessness and power, palliative and a provocation. In anger, you will find both ferocity and comfort, vulnerability and hurt. Anger is the expression of hope. How much anger is too much? Certainly not the anger that, for many of us, is a remembering of a self we learned to hide and quiet. It is willful and disobedient. It is survival, liberation, creativity, urgency, and vibrancy. It is a statement of need. An insistence of acknowledgment. Anger is a boundary. Anger is boundless. An opportunity for contemplation and self-awareness. It is commitment. Empathy. Self-love. Social responsibility. If it is poison, it is also the antidote. The anger we have as women is an act of radical imagination. Angry women burn brighter than the sun. In the coming years, we will hear, again, that anger is a destructive force, to be controlled. Watch carefully, because not everyone is asked to do this in equal measure. Women, especially, will be told to set our anger aside in favor of a kinder, gentler approach to change. This is a false juxtaposition. Reenvisioned, anger can be the most feminine of virtues: compassionate, fierce, wise, and powerful. The women I admire most—those who have looked to themselves and the limitations and adversities that come with our bodies and the expectations that come with them—have all found ways to transform their anger into meaningful change. In them, anger has moved from debilitation to liberation. Your anger is a gift you give to yourself and the world that is yours. In anger, I have lived more fully, freely, intensely, sensitively, and politically. If ever there was a time not to silence yourself, to channel your anger into healthy places and choices, this is it.

How awful to have a passion so intense it dictates your every breath and yet to lack the moral backbone to pursue it. The

Poets represent love as sculptors design beauty, as musicians create melody; that is to say, endowed with an exquisite nervous organization, they gather up with discerning ardor the purest elements of life, the most beautiful lines of matter, and the most harmonious voices of nature. There lived, it is said, at Athens a great number of beautiful girls; Praxiteles drew them all one after another; then from these diverse types of beauty, each one of which had its defects, he formed a single faultless beauty and created Venus. The man who first created a musical instrument, and who gave to harmony its rules and its laws, had for a long time listened to the murmuring of reeds and the singing of birds. Thus the poets, who understand life, after knowing much of love, more or less transitory, after feeling that sublime exaltation which real passion can for the moment inspire, eliminating from human nature all that degrades it, created the mysterious names which through the ages fly from lip to lip: Daphnis and Chloe, Hero and Leander, Pyramus and Thisbe. To try to find in real life such love as this, eternal and absolute, is but to seek on public squares a woman such as Venus, or to expect nightingales to sing the symphonies of Beethoven.

Playing an instrument says you have passion. Taking the time to teach someone else, especially someone younger, says you’re not only sweet, but patient. It told me you obviously like music. Musicians typically appreciate all music, so it told me you were more open. The fact that your little brother thought you were good meant you’re dedicated. And the way he looked at you, like you hung the moon, spoke loudest of all. It told me that someone loved you. That you had to be a good person to have so much respect from your brother when most brothers can’t seem to get along. It told me you were special.

So? If I die, then I die! The loss to the world won’t be great. Yes, and I’m fairly bored with myself already. I am like a man who is yawning at a ball, whose reason for not going home to bed is only that his carriage hasn’t arrived yet. But the carriage is ready . . . farewell! I run through the memory of my past in its entirety and can’t help asking myself: Why have I lived? For what purpose was I born? . . . There probably was one once, and I probably did have a lofty calling, because I feel a boundless strength in my soul . . . But I didn’t divine this calling. I was carried away with the baits of passion, empty and unrewarding. I came out of their crucible as hard and cold as iron, but I had lost forever the ardor for noble aspirations, the best flower of life. Since then, how many times have I played the role of the ax in the hands of fate! Like an instrument of execution, I fell on the head of doomed martyrs, often without malice, always without regret . . . My love never brought anyone happiness, because I never sacrificed anything for those I loved: I loved for myself, for my personal pleasure. I was simply satisfying a strange need of the heart, with greediness, swallowing their feelings, their joys, their suffering—and was never sated. Just as a man, tormented by hunger, goes to sleep in exhaustion and dreams of sumptuous dishes and sparkling wine before him. He devours the airy gifts of his imagination with rapture, and he feels easier. But as soon as he wakes: the dream disappears . . . and all that remains is hunger and despair redoubled! And, maybe, I will die tomorrow! . . . And not one being on this earth will have ever understood me totally. Some thought of me as worse, some as better, than I actually am . . . Some will say “he was a good fellow,” others will say I was a swine. Both one and the other would be wrong. Given this, does it seem worth the effort to live? And yet, you live, out of curiosity, always wanting something new . . . Amusing and vexing!

What grief is not taken away by time? What passion will survive an unequal battle with it? I knew a man in the bloom of his still youthful powers, filled with true nobility and virtue, I knew him when he was in love, tenderly, passionately, furiously, boldly, modestly, and before me, almost before my eyes, the object of his passion - tender, beautiful as an angel - was struck down by insatiable death. I never saw such terrible fits of inner suffering, such furious scorching anguish, such devouring despair as shook the unfortunate lover. I never thought a man could create such a hell for himself, in which there would be no shadow, no image, nothing in the least resembling hope... They tried to keep an eye on him; they hid all instruments he might have used to take his own life. Two weeks later he suddenly mastered himself: he began to laugh, to joke; freedom was granted him, and the first thing he did was buy a pistol. One day his family was terribly frightened by the sudden sound of a shot. They ran into the room and saw him lying with his brains blown out. A doctor who happened to be there, whose skill was on everyone's lips, saw signs of life in him, found that the wound was not quite mortal, and the man, to everyone's amazement, was healed. The watch on him was increased still more. Even at the table they did not give him a knife to and tried to take away from him anything that he might strike himself with; but a short while later he found a new occasion and threw himself under the wheels of a passing carriage. His arms and legs were crushed; but again they saved him. A year later I saw him in a crowded room; he sat at the card table gaily saying 'Petite ouverte,' keeping one card turned down, and behind him, leaning on the back of his chair, stood his young wife, who was sorting through his chips.

if you study in order to instruct, and herbalize only to become author or professor, all its attractive charms vanish, and plants, being no longer considered but as instruments of our passions, no more real pleasure can result from the study of them. Our end, then, is not to gain knowledge, but to make others sensible of our acquirements;

You see, you’re not someone without direction; you’re an investigator, and the whole investigative process consists of learning a little bit about everything that looks interesting to you. If you respect your natural curiosity, you’ll come to trust your enthusiasm. It knows something about you. Your trail of enthusiasms is the most precise instrument you have for locating where you’d find the deepest satisfaction in your life.

To burn always with this hard, gem-like flame, to maintain this ecstasy, is success in life. In a sense it might even be said that our failure is to form habits: for, after all, habit is relative to a stereotyped world, and meantime it is only the roughness of the eye that makes two persons, things, situations, seem alike. While all melts under our feet, we may well grasp at any exquisite passion, or any contribution to knowledge that seems by a lifted horizon to set the spirit free for a moment, or any stirring of the sense, strange dyes, strange colours, and curious odours, or work of the artist’s hands, or the face of one’s friend. Not to discriminate every moment some passionate attitude in those about us, and in the very brilliancy of their gifts some tragic dividing on their ways, is, on this short day of frost and sun, to sleep before evening. With this sense of the splendour of our experience and of its awful brevity, gathering all we are into one desperate effort to see and touch, we shall hardly have time to make theories about the things we see and touch. What we have to do is to be for ever curiously testing new opinions and courting new impressions, never acquiescing in a facile orthodoxy, of Comte, or of Hegel, or of our own. Philosophical theories or ideas, as points of view, instruments of criticism, may help us to gather up what might otherwise pass unregarded by us. “Philosophy is the microscope of thought.” The theory or idea or system which requires of us the sacrifice of any part of this experience, in consideration of some interest into which we cannot enter, or some abstract theory we have not identified with ourselves, or of what is only conventional, has no real claim upon us.

Quarry the granite rock with razors, or moor the vessel with a thread of silk; then may you hope with such keen and delicate instruments as human knowledge and human reason to contend against those giants, the passion and the pride of man.

This is the pattern of gun killings in big cities. Most homicides are not professional jobs, in felonious pursuits, but are committed by relatives, friends or neighbors, in the home or nearby. They are sparked by liquor, by lust, by jealousy, or greed, or a burning sense of injustice. And most are committed by people with no previous record of violence. It is these who will be restrained by stricter gun laws, who will find it much harder to go home, pick up a gun and shoot an adversary. The liquor will pass, the lust will die, reflection will replace passion if the instrument of death is not so readily available.

But as truth and reason seldom find so favourable a reception in the world, and as the wisdom of Providence frequently condescends to use the passions of the human heart, and the general circumstances of mankind, as instruments to execute its purpose; we may still be permitted, though with becoming submission, to ask, not indeed what were the first, but what were the secondary causes of the rapid growth of the Christian church. It

I certainly admire people who can play their instruments, but I’d rather listen to someone whose ideas outweigh their proficiency than the other way round. Who would you rather listen to, the mile-a-minute technical snoozery of Yngwie Malmsteen or the passionate and primitive chunking of Lou Reed?

To Sherlock Holmes she is always THE woman. I have seldom heard him mention her under any other name. In his eyes she eclipses and predominates the whole of her sex. It was not that he felt any emotion akin to love for Irene Adler. All emotions, and that one particularly, were abhorrent to his cold, precise but admirably balanced mind. He was, I take it, the most perfect reasoning and observing machine that the world has seen, but as a lover he would have placed himself in a false position. He never spoke of the softer passions, save with a gibe and a sneer. They were admirable things for the observer—excellent for drawing the veil from men's motives and actions. But for the trained reasoner to admit such intrusions into his own delicate and finely adjusted temperament was to introduce a distracting factor which might throw a doubt upon all his mental results. Grit in a sensitive instrument, or a crack in one of his own high-power lenses, would not be more disturbing than a strong emotion in a nature such as his. And yet there was but one woman to him, and that woman was the late Irene Adler, of dubious and questionable memory.

Exactly what I intended, sir,” she murmured, as he drew her to the instrument that she had polished so diligently that afternoon.

A longing for things material is an instrument by which one may approach the love of God; even through coarse desires one may come to love the Creator.

Fancy what a game of chess would be if all the chessmen had passions and intellects, more or less small and cunning; if you were not only uncertain about your adversary's men, but a little uncertain also about your own; if your knight could shuffle himself on to a new square by the sly; if your bishop, at your castling, could wheedle your pawns out of their places; and if your pawns, hating you because they are pawns, could make away from their appointed posts that you might get checkmate on a sudden. You might be the longest-headed of deductive reasoners, and yet you might be beaten by your own pawns. You would be especially likely to be beaten, if you depended arrogantly on your mathematical imagination, and regarded your passionate pieces with contempt. Yet this imaginary chess is easy compared with the game a man has to play against his fellow-men with other fellow-men for his instruments.

The True Cross, the Crown of Thorns, the Pillar of the Flogging, the Holy Sponge, the Holy Lance, the Nails, and the Holy Blood. The Arma Christi. Weapons of Christ. Instruments of passion.

If at thirteen you can write ten good lines, at twenty you'll write ten times ten-if the gods are kind. I think there's something trying to speak through you- but you'll have to make yourself a fit instrument for it.

The President is at liberty, both in law and conscience, to be as big a man as he can. His capacity will set the limit; and if Congress be overborne by him, it will be no fault of the makers of the Constitution, – it will be from no lack of constitutional powers on its part, but only because the President has the nation behind him, and the Congress has not.” “The chief instrumentality by which the law of the Constitution has been extended to cover the facts of national development has of course been judicial interpretation, – the decisions of the courts. The process of formal amendment of the Constitution was made so difficult by provisions of the Constitution itself that it has seldom been feasible to use it; and the difficulty of formal amendment has undoubtedly made the courts more liberal, not to say lax, in their interpretation than they would otherwise have been. The whole business of adaptation has been theirs, and they have undertaken it with open minds, sometimes even with boldness and a touch of audacity...” “The old theory of the sovereignty of the States, which used so to engage our passions, has lost its vitality. The war between the States established at least this principle, that the federal government is, through its courts, the final judge of its own powers... We are impatient of state legislatures because they seem to us less representative of the thoughtful opinion of the country than Congress is. We know that our legislatures do not think alike, but we are not sure that our people do not think alike...

There seemed to be more chatter—in that curiously measured and vehement language, which sometimes reminds me of stiffening egg white and sometimes of stringed instruments but always of the underside and aftermath of passion.

Down the rusty bars of ladders to the undergrounds of the night propitious to the first man and woman at the beginning of the world. where there were no words by which to possess each other, no music for serenades, no presents to court with, no tournaments to impress and force a yielding, no secondary instruments, no adornments, necklaces, crowns to subdue, but only one ritual, a joyous, joyous, joyous, joyous, impaling of a woman on a man´s sensual mast

I am grateful that their unyielding passion is completely allowed to flow through their delicate fingers and wrists onto their lovely instruments, sharing this on a level which is beyond words, resonating with one's deepest soul.

Sensuality is essentially the only instrument I know how play best, but with a listener who understands nothing or does not wish to understand and who does not feel with me in what I am playing, all my pleasure, let alone effort, is spoiled.

Therefore we are taught here that true vengeance is carried out, not by our passion but by God’s command and on account of God. We are only the instruments of the avenging God, and we arrogate nothing of the vengeance to ourselves, as you see here.

I've always felt that there was something pathetic in the founders of religion who made it a condition of salvation that you should believe in them. It's as though they needed your faith to have faith in themselves. They remind you of those old pagan gods who grew wan and faint if they were not sustained by the burnt offerings of the devout. Advaita doesn't ask you to take anything on trust; it asks only that you should have a passionate craving to know Reality; it states that you can experience God as surely as you can experience joy or pain. And there are men in India today—hundreds of them for all I know—who have the certitude that they have done so. I found something wonderfully satisfying in the notion that you can attain Reality by knowledge. In later ages the sages of India in recognition of human infirmity admitted that salvation may be won by the way of love and the way of works, but they never denied that the noblest way, though they hardest, is the way of knowledge, for its instrument is the most precious faculty of man, his reason.

Among this bewildering multiplicity of ideals which shall we choose? The answer is that we shall choose none. For it is clear that each one of these contradictory ideals is the fruit of particular social circumstances. To some extent, of course, this is true of every thought and aspiration that has ever been formulated. Some thoughts and aspirations, however, are manifestly less dependent on particular social circumstances than others. And here a significant fact emerges: all the ideals of human behaviour formulated by those who have been most successful in freeing themselves from the prejudices of their time and place are singularly alike. Liberation from prevailing conventions of thought, feeling and behaviour is accomplished most effectively by the practice of disinterested virtues and through direct insight into the real nature of ultimate reality. (Such insight is a gift, inherent in the individual; but, though inherent, it cannot manifest itself completely except where certain conditions are fulfilled. The principal pre-condition of insight is, precisely, the practice of disinterested virtues.) To some extent critical intellect is also a liberating force. But the way in which intellect is used depends upon the will. Where the will is not disinterested, the intellect tends to be used (outside the non-human fields of technology, science or pure mathematics) merely as an instrument for the rationalization of passion and prejudice, the justification of self-interest. That is why so few even of die acutest philosophers have succeeded in liberating themselves completely from the narrow prison of their age and country. It is seldom indeed that they achieve as much freedom as the mystics and the founders of religion. The most nearly free men have always been those who combined virtue with insight. Now, among these freest of human beings there has been, for the last eighty or ninety generations, substantial agreement in regard to the ideal individual. The enslaved have held up for admiration now this model of a man, now that; but at all times and in all places, the free have spoken with only one voice. It is difficult to find a single word that will adequately describe the ideal man of the free philosophers, the mystics, the founders of religions. 'Non-attached* is perhaps the best. The ideal man is the non-attached man. Non-attached to his bodily sensations and lusts. Non-attached to his craving for power and possessions. Non-attached to the objects of these various desires. Non-attached to his anger and hatred; non-attached to his exclusive loves. Non-attached to wealth, fame, social position. Non-attached even to science, art, speculation, philanthropy. Yes, non-attached even to these. For, like patriotism, in Nurse Cavel's phrase, 'they are not enough, Non-attachment to self and to what are called 'the things of this world' has always been associated in the teachings of the philosophers and the founders of religions with attachment to an ultimate reality greater and more significant than the self. Greater and more significant than even the best things that this world has to offer. Of the nature of this ultimate reality I shall speak in the last chapters of this book. All that I need do in this place is to point out that the ethic of non-attachment has always been correlated with cosmologies that affirm the existence of a spiritual reality underlying the phenomenal world and imparting to it whatever value or significance it possesses.

Sensuality is essentially the only instrument I know how to play (though yes, I do know how to play the keys), but with a listener who understands nothing or does not wish to understand and who does not feel with me in what I am playing, all my pleasure, let alone effort, is spoiled

What do you think an artist is? ...he is a political being, constantly aware of the heart breaking, passionate, or delightful things that happen in the world, shaping himself completely in their image. Painting is not done to decorate apartments. It is an instrument of war.” ― Pablo Picasso

Anger is an assertion of rights and worth. It is communication, equality, and knowledge. It is intimacy, acceptance, fearlessness, embodiment, revolt, and reconciliation. Anger is memory and rage. It is rational thought and irrational pain. Anger is freedom, independence, expansiveness, and entitlement. It is justice, passion, clarity, and motivation. Anger is instrumental, thoughtful, complicated, and resolved. In anger, whether you like it or not, there is truth. Anger is the demand of accountability. It is evaluation, judgment, and refutation. It is reflective, visionary, and participatory. It's a speech act, a social statement, an intention, and a purpose. It's a risk and a threat. A confirmation and a wish. It is both powerlessness and power, palliative and a provocation. In anger, you will find both ferocity and comfort, vulnerability and hurt. Anger is the expression of hope.

Here’s what I say; Someone has to be a rock star; it might as well be you; Someone has to write books; it might as well be you; And someone has to sleep with artists, and it might as well be you. So practice that instrument, write those words, put on those heels, and go find something, or someone, to love.

Patriotism,” said Lymond, “like honesty is a luxury with a very high face value which is quickly pricing itself out of the spiritual market altogether. [...] It is an emotion as well, and of course the emotion comes first. A child’s home and the ways of its life are sacrosanct, perfect, inviolate to the child. Add age; add security; add experience. In time we all admit our relatives and our neighbours, our fellow townsmen and even, perhaps, at last our fellow nationals to the threshold of tolerance. But the man living one inch beyond the boundary is an inveterate foe. [...] Patriotism is a fine hothouse for maggots. It breeds intolerance; it forces a spindle-legged, spurious riot of colour.… A man of only moderate powers enjoys the special sanction of purpose, the sense of ceremony; the echo of mysterious, lost and royal things; a trace of the broad, plain childish virtues of myth and legend and ballad. He wants advancement—what simpler way is there? He’s tired of the little seasons and looks for movement and change and an edge of peril and excitement; he enjoys the flowering of small talents lost in the dry courses of daily life. For all these reasons, men at least once in their lives move the finger which will take them to battle for their country.… “Patriotism,” said Lymond again. “It’s an opulent word, a mighty key to a royal Cloud-Cuckoo-Land. Patriotism; loyalty; a true conviction that of all the troubled and striving world, the soil of one’s fathers is noblest and best. A celestial competition for the best breed of man; a vehicle for shedding boredom and exercising surplus power or surplus talents or surplus money; an immature and bigoted intolerance which becomes the coin of barter in the markets of power— [...] These are not patriots but martyrs, dying in cheerful self-interest as the Christians died in the pleasant conviction of grace, leaving their example by chance to brood beneath the water and rise, miraculously, to refresh the centuries. The cry is raised: Our land is glorious under the sun. I have a need to believe it, they say. It is a virtue to believe it; and therefore I shall wring from this unassuming clod a passion and a power and a selflessness that otherwise would be laid unquickened in the grave. [...] “And who shall say they are wrong?” said Lymond. “There are those who will always cleave to the living country, and who with their uprooted imaginations might well make of it an instrument for good. Is it quite beyond us in this land? Is there no one will take up this priceless thing and say, Here is a nation, with such a soul; with such talents; with these failings and this native worth? In what fashion can this one people be brought to live in full vigour and serenity, and who, in their compassion and wisdom, will take it and lead it into the path?

When the artist leaves a painting on a wall with the full confidence that the mastery of his skill, soul and vision will draw others into its vortex long after he is gone, he is using the grip of seduction. When the musician’s performance, the manipulation of her instrument and the command of her talents are so raw and uninhibited that onlookers feel connected to the cosmos, bridged by the pure genius they are now experiencing, she is using the mystery of seduction. The unexplainable feeling fans get when the athlete ceases to be an athlete and rises to the level of the untouchable magician that can make anything happen, is nothing less than the power of seduction at work. The immense value of seduction is its ability to skillfully allure others into one’s world . . . .

Mr. President I confess that there are several parts of this constitution which I do not at present approve, but I am not sure I shall never approve them: For having lived long, I have experienced many instances of being obliged by better information, or fuller consideration, to change opinions even on important subjects, which I once thought right, but found to be otherwise. It is therefore that the older I grow, the more apt I am to doubt my own judgment, and to pay more respect to the judgment of others. Most men indeed as well as most sects in Religion, think themselves in possession of all truth, and that wherever others differ from them it is so far error. Steele a Protestant in a Dedication tells the Pope, that the only difference between our Churches in their opinions of the certainty of their doctrines is, the Church of Rome is infallible and the Church of England is never in the wrong. But though many private persons think almost as highly of their own infallibility as of that of their sect. In these sentiments, Sir, I agree to this Constitution with all its faults, if they are such; because I think a general Government necessary for us, and there is no form of Government but what may be a blessing to the people if well administered, and believe farther that this is likely to be well administered for a course of years, and can only end in Despotism, as other forms have done before it, when the people shall become so corrupted as to need despotic Government, being incapable of any other. I doubt too whether any other Convention we can obtain, may be able to make a better Constitution. For when you assemble a number of men to have the advantage of their joint wisdom, you inevitably assemble with those men, all their prejudices, their passions, their errors of opinion, their local interests, and their selfish views. From such an assembly can a perfect production be expected? It therefore astonishes me, Sir, to find this system approaching so near to perfection as it does; and I think it will astonish our enemies, who are waiting with confidence to hear that our councils are confounded like those of the Builders of Babel; and that our States are on the point of separation, only to meet hereafter for the purpose of cutting one another's throats. Thus I consent, Sir, to this Constitution because I expect no better, and because I am not sure, that it is not the best. The opinions I have had of its errors, I sacrifice to the public good. I have never whispered a syllable of them abroad. Within these walls they were born, and here they shall die. If every one of us in returning to our Constituents were to report the objections he has had to it, and endeavor to gain partizans in support of them, we might prevent its being generally received, and thereby lose all the salutary effects & great advantages resulting naturally in our favor among foreign Nations as well as among ourselves, from our real or apparent unanimity. Much of the strength & efficiency of any Government in procuring and securing happiness to the people, depends, on opinion, on the general opinion of the goodness of the Government, as well as of the wisdom and integrity of its Governors. I hope therefore that for our own sakes as a part of the people, and for the sake of posterity, we shall act heartily and unanimously in recommending this Constitution (if approved by Congress & confirmed by the Conventions) wherever our influence may extend, and turn our future thoughts & endeavors to the means of having it well administred. On the whole, Sir, I can not help expressing a wish that every member of the Convention who may still have objections to it, would with me, on this occasion doubt a little of his own infallibility, and to make manifest our unanimity, put his name to this instrument.

What hasn’t she done to me? She’s the most beautiful woman I’ve ever met in my entire life. She has a passion about other people’s happiness that is simply inspiring. She rose from her own ashes and became an even better person when most would have stayed in the dark,” I tell her, looking straight into her eyes. “And when she dances, sings or plays an instrument…she’s a completely out of this world artist and I can’t take my eyes…and hands off her,

You have spent your life among scholarly men of good will. To you the universe is a benevolent place; it has treated you with kindness, or, at least, neutrality. I have seen passion and malice and greed, and I know that intelligence is not necessarily benevolent; in fact, in my experience, it is more likely to be merely an instrument in the persistent search for advantage, in weighing profit and loss and finding a means of maximizing profit and minimizing loss.

In life, idea and emotion come separately. Mind and passions revolve in different spheres of our humanity, rarely coordinated, usually at odds. In fact, in life, moments that blaze with a fusion of idea and emotion are so rare, when they happen you think you're having a religious experience. But whereas life separates meaning from emotion, art unites them. Story is an instrument by which you create such epiphanies at will, the phenomenon known as aesthetic emotion.

The central fact of biblical history, the birth of the Messiah, more than any other, presupposes the design of Providence in the selecting and uniting of successive producers, and the real, paramount interest of the biblical narratives is concentrated on the various and wondrous fates, by which are arranged the births and combinations of the 'fathers of God.' But in all this complicated system of means, having determined in the order of historical phenomena the birth of the Messiah, there was no room for love in the proper meaning of the word. Love is, of course, encountered in the Bible, but only as an independent fact and not as an instrument in the process of the genealogy of Christ. The sacred book does not say that Abram took Sarai to wife by force of an ardent love, and in any case Providence must have waited until this love had grown completely cool for the centenarian progenitors to produce a child of faith, not of love. Isaac married Rebekah not for love but in accordance with an earlier formed resolution and the design of his father. Jacob loved Rachel, but this love turned out to be unnecessary for the origin of the Messiah. He was indeed to be born of a son of Jacob - Judah - but the latter was the offspring, not of Rachel but of the unloved wife, Leah. For the production in the given generation of the ancestor of the Messiah, what was necessary was the union of Jacob precisely with Leah; but to attain this union Providence did not awaken in Jacob any powerful passion of love for the future mother of the 'father of God' - Judah. Not infringing the liberty of Jacob's heartfelt feeling, the higher power permitted him to love Rachel, but for his necessary union with Leah it made use of means of quite a different kind: the mercenary cunning of a third person - devoted to his own domestic and economic interests - Laban. Judah himself, for the production of the remote ancestors of the Messiah, besides his legitimate posterity, had in his old age to marry his daughter-in-law Tamar. Seeing that such a union was not at all in the natural order of things, and indeed could not take place under ordinary conditions, that end was attained by means of an extremely strange occurrence very seductive to superficial readers of the Bible. Nor in such an occurrence could there be any talk of love. It was not love which combined the priestly harlot Rahab with the Hebrew stranger; she yielded herself to him at first in the course of her profession, and afterwards the casual bond was strengthened by her faith in the power of the new God and in the desire for his patronage for herself and her family. It was not love which united David's great-grandfather, the aged Boaz, with the youthful Moabitess Ruth, and Solomon was begotten not from genuine, profound love, but only from the casual, sinful caprice of a sovereign who was growing old.

The great pleasure of conversation and society, besides, arises from a certain correspondence of sentiments and opinions, from a certain harmony of minds, which like so many musical instruments coincide and keep time with one another. But this most delightful harmony cannot be obtained unless there is a free communication of sentiments and opinions. We all desire, upon this account, to feel how each other is affected, to penetrate into each other's bosoms, and to observe the sentiments and affections which really subsist there. The man who indulges us in this natural passion, who invites us into his heart, who, as it were, sets open the gates of his breast to us, seems to exercise a species of hospitality more delightful than any other. No man, who is in ordinary good temper, can fail of pleasing, if he has the courage to utter his real sentiments as he feels them, and because he feels them. It is this unreserved sincerity which renders even the prattle of a child agreeable.

I admire the crap out of Carl now, because he was doing something he loved more than anything. And he was determined to do it, regardless of how successful he was. Carl played the violin because he had a PASSION for it, and screw the rest of the world. Even if he had to get a day job that wasn’t musical after college, and was only able to pick the instrument up at night before bed, to play ONLY for himself, it made him complete to have that in his life. And I think every minute he spent playing that violin was a moment he was spending his time right.

High school marching band was its own little microcosm of the world. More a study in sociology than in woodwinds and brass: There were the band geeks, pimply and a tad too greasy, making out with one another every chance they got. There were the no-nonsense go-getters, eager to fill a line on their college applications, marching without rhythm or passion. There was the percussion section, hipsters-to-be whose arms would be full of tattoos in a few years’ time. And there were the tuba players, chunky and asexual, as if they were slowly morphing into their instrument of choice.

Without being aware of it, Carlos was making a distinction in relationships that Aristotle had made more than two thousand years earlier in his Nicomachean Ethics. Aristotle wrote that there is a kind of a friendship ladder, from lowest to highest. At the bottom—where emotional bonds are weakest and the benefits are lowest—are friendships based on utility: deal friends, to use Carlos’s coinage. You are friends in an instrumental way, one that helps each of you achieve something else you want, such as professional success. Higher up are friends based on pleasure. You are friends because of something you like and admire about the other person. They are entertaining, or funny, or beautiful, or smart, for example. In other words, you like an inherent quality, which makes it more elevated than a friendship of utility, but it is still basically instrumental. At the highest level is Aristotle’s “perfect friendship,” which is based on willing each other’s well-being and a shared love for something good and virtuous that is outside either of you. This might be a friendship forged around religious beliefs or passion for a social cause. What it isn’t is utilitarian. The other person shares in your passion, which is intrinsic, not instrumental. Of

In later times, Power's growth has continued at an accelerated pace, and its extension has brought a corresponding extension of war. And now we no longer understand the process. We no longer protest, we no longer react. The quiescence of ours is a new thing for which Power has to thank the smokescreen in which it has wrapped itself. Formally, it could be seen manifest in the person of the king, who did not disclaim being the matter he was, and in whom human passions were discernible. Now masked in anonymity, it claims to have no existence of its own, and to be but the impersonal and passionless instrument of the general will.

Le fait de ne pas prolonger l’expérience amoureuse n’est pas un critère de validité en soi. Dans la rencontre attentionnée avec l’autre, l’individu est électrisé. Dans la rencontre de deux corps s’exalte une sensation de vie intense. Aussi la passion n’est-elle pas toujours liée à la suite de l’événement : il est fréquent de rencontrer sensuellement quelqu’un sans vivre ensuite avec lui. Il faut disjoindre la grâce de la rencontre, qui est éblouissement réciproque, des suites d’une relation. Deux êtres peuvent s’estimer trop différents, trop éloignés, pour décider de former une relation durable, malgré un échange merveilleux. Les partenaires savent que, « sans lendemain », cet échange se suffit à lui-même, qu’il procure une énergie fabuleuse. C’est néanmoins un moment magique. « Une volupté vraie est aussi difficile à réussir qu’un mariage d’amour », estime Vladimir Jankélévitch (1949). Il ne s’agit pas de ce que l’on appelle communément l’état amoureux, aussi cette forme de relation est toujours niée, vulgarisée, ramenée à un échange libertin, de pur sexe, instrumental, intéressé, etc. Pourtant l’apport émotionnel, sensuel, énergétique, affectif, amoureux peut avoir des répercussions plus grandes dans l’histoire de vie de la personne que des années de vie conjugale.

His performance was also intensely visual, with his volatile movements in front of the piano, and his cries and wild vocal accompaniment to his playing, all of which spoke eloquently of his extraordinary passion for the instrument and the music he coaxed, tickled and sometimes pounded out of him. Many critics were put off by all this, thinking it was a mere outward show- and therefore insincere. In fact it is an essential part of music-making for Jarrett, his way of achieving his state of grace… the ecstasy of inspiration. Miles Davis understood that immediately, and so did most other musicians. Jack DeJohonette says: “The one thing that struck me about Keith, that made him stand out from other players, was that he really has a love affair with the piano, it’s a relationship with that instrument… Keith’s hands are actually quire small but because of that he can do things that a person like myself, or other pianists with normal hand spans, can’t do… it enables him to overlap certain chord sequences and do rhythmic things and contrapuntal lines and get these effects of like, four people playing the piano… But I’ve never seen anybody just have such a rapport with their instrument and know its limitations but also push them to the limits, transcend the instrument – which is what I try and do with the drums as well.

There was, of course, the dildo that I have described (though the device, or the instrument, was what I learned, following Diana, to call it: I think the unnecessary euphemism, with its particular odour of the surgery or house of correction, appealed to her; only when really heated would she call the thing by its proper name - and even then she was as likely to ask for Monsieur Dildo, or simply Monsieur). Besides this there was an album of photographs of big-buttocked girls with hairless parts, bearing feathers; also a collection of erotic pamphlets and novels, all hymning the delights of what I would call tommistry but what they, like Diana, called Sapphic Passion.

The most extensive and sustained exploration of the world, and the mightiest monument of collective wondering, is, of course, science. Richard Dawkins speaks of 'the feeling of awed wonder' that science can give us and asserts that 'it is one of the highest experiences of which the human psyche is capable. It is deep aesthetic passion to rank with the finest music and poetry can deliver'. Anyone who is not acquainted with science - its questions, its answers, the limits to its answers, and honesty about those limits, the brilliance of its methodologies and instruments, its sense of the unanswerable - is denying herself a great opening, a dormer window, in conciousness.

All circumstances taken together, the French Revolution is the most astonishing that has hitherto happened on the world. The most wonderful things are brought about in many instances by means the most absurd and ridiculous; in the most ridiculous modes; and, apparently, by the most contemptible instruments. Everything seems out of nature in this strange chaos of levity and ferocity, and of all sorts of crimes jumbled together with all sorts of follies. In viewing this monstrous tragicomic scene, the most opposite passions necessarily succeed, and sometimes mix with each other in the mind; alternate contempt and indignation; alternate laughter and tears; alternate scorn and horror.

Many of the great economic masters, though they had originally favored radio-bliss in moderation as an opiate for the discontented workers, now turned against it. Their craving was for power; and for power they needed slaves whose labor they could command for their great industrial ventures. They therefore developed an instrument which was at once an opiate and a spur. By every method of propaganda they sought to rouse the passions of nationalism and racial hatred. They created, in fact, the "Other Fascism", complete with lies, with mystical cult of race and state, with scorn of reason, with praise of brutal mastery, with appeal at once to the vilest and to the generous motives of the deluded young.

Remember, please remember, you do not (you must not!) fear, attack, or hate the False Self. That would only continue a negative and arrogant death energy, and it is delusional and counterproductive anyway. It would be trying to “drive out the devil by the prince of devils,” as Jesus puts it. In the great economy of grace, all is used and transformed, and nothing is wasted. God uses your various False Selves to lead you beyond them. Note that Jesus' clear message to his beloved, Mary Magdalene, is not that she squelch, deny, or destroy her human love for him. He is much more subtle than that. He just says to her, “Do not cling to me” (John 20:17). He is saying, “Don't hold on to your needy False Self. We are all heading for something much bigger and much better, Mary.” This is the spiritual art of detachment, which is not taught much in capitalistic worldview where clinging and possessing are not just the norm but even the goal. You see how trapped we are. Great love is both very attached (“passionate”) and yet very detached at the same time. It is love but not addiction. The soul, the True Self, has everything, and so it does not require any particular thing. When you have all things, you do not have to protect any one thing. True Self can love and let go. The False Self cannot do this. The “do not cling to me” encounter between Jesus and Mary Magdalene is the most painted Easter scene, I am told. The artistic imagination knew that a seeming contradiction was playing out here: intense love and yet appropriate distance. The soul and the spirit tend to love and revel in paradoxes; they operate by resonance and reflection. The ego (False Self) wants to resolve all paradoxes in a most glib way and thinks that it can. It operates in a way that is mechanical and instrumental. This is not always bad, but it is surely limited. The ego would like Mary Magdalene and Jesus to be caught up in a passionate love affair. Of course they are, in the deepest sense of the term, but only the True Self knows how to enjoy and picture “a love of already satisfied desire.” The True Self and False Self see differently; both are necessary, but one is better, bigger, and even eternal.

The typical voter has chosen to accept a fairly obvious lie: that the government is an instrument of the people, that it is subject to the will of the governed, and nobody (inside or outside of government) is above the law. To these voters, the idea of a highly organized shadow government, operating at the direct expense of the governed, is laughed off without investigation. They might passionately believe that Republicans are corrupt and only the Democrats can save them, or that Democrats are corrupt and only Republicans can save them, but they have yet to recognize the deeper truth: neither Republicans nor Democrats are ever going to save them. Both sides are funded and maintained by the same ruling class to create the illusion of choice.

By and large, the narrow-minded say that dancing is sacrilege. They think God gave us music—not only the music we make with our voices and instruments but the music underlying all forms of life, and then He forbade our listening to it. Don’t they see that all nature is singing? Everything in this universe moves with a rhythm—the pumping of the heart, the flaps of a bird’s wings, the wind on a stormy night, a blacksmith working iron, or the sounds an unborn baby is surrounded with inside the womb. … Everything partakes, passionately and spontaneously, in one magnificent melody. The dance of the whirling dervishes is a link in that perpetual chain. Just as a drop of seawater carries within it the entire ocean, our dance both reflects and shrouds the secrets of the cosmos.

Seated at his own desk looking out on the overgrown garden, he marvels at what the little banjo is teaching him. Six months ago he had thought his own ghostly place in Byron in Italy would be somewhere between Teresa’s and Byron’s: between a yearning to prolong the summer of the passionate body and a reluctant recall from the long sleep of oblivion. But he was wrong. It is not the erotic that is calling to him after all, nor the elegiac, but the comic. He is in the opera neither as Teresa nor as Byron nor even as some blending of the two: he is held in the music itself, in the flat, tinny slap of the banjo strings, the voice that strains to soar away from the ludicrous instrument but is continually reined back, like a fish on a line. So this is art, he thinks, and this is how it does its work! How strange! How fascinating!

We have to dare to be ourselves, however frightening or strange that self may prove to be. - May Sarton You see, I am a poet, and not quite right in the head, darling. It's only that. - Edna St. Vincent Millay We are slowed down sound and light waves, a walking bundle of frequencies tuned into the cosmos. We are souls dressed up in sacred biochemical garments and our bodies are the instruments through which our souls play their music. - Albert Einstein ————- Eventually soulmates meet, for they have the same hiding place. - Robert Brault Some things arrive on their own mysterious hour, on their own terms and not yours, to be seized or relinquished forever. - Gail Godwin Art makes us exercise the weakest muscle in the human body, the muscle of empathy. - Etgar Keret In the history of old Jewish literature there was never any basic difference between the poet and the prophet. Our ancient poetry often became law and a way of life. - Isaac Bashevis Singer ——————————————————————————— I am not belittling the brave pioneer men but the sunbonnet as well as the sombrero has helped to settle this glorious land of ours. - Edna Ferber You lose in the end unless you know how the wheel is fixed or can fix it yourself. - Edna Ferber What is most beautiful in virile men is something feminine; what is most beautiful in feminine women is something masculine. - Susan Sontag ——————————————————————————— There comes a time when suddenly you realize that laughter is something you remember and that you were the one laughing. - Marlene Dietrich We work in the dark, We do what we can, We give what we have. Our doubt is our passion, and our passion is our task. The rest is the madness of art. - Henry James

But wise men pierce this rotten diction and fasten words again to visible things; so that picturesque language is at once a commanding certificate that he who employs it, is a man in alliance with truth and God. The moment our discourse rises above the ground line of familiar facts, and is inflamed with passion or exalted by thought, it clothes itself in images. A man conversing in earnest, if he watch his intellectual processes, will find that a material image, more or less luminous, arises in his mind, cotemporaneous with every thought, which furnishes the vestment of the thought. Hence, good writing and brilliant discourse are perpetual allegories. This imagery is spontaneous. It is the blending of experience with the present action of the mind. It is proper creation. It is the working of the Original Cause through the instruments he has already made.

FANCY what a game at chess would be if all the chessmen had passions and intellects, more or less small and cunning: if you were not only uncertain about your adversary’s men, but a little uncertain also about your own; if your knight could shuffle himself on to a new square by the sly; if your bishop, in disgust at your castling, could wheedle your pawns out of their places; and if your pawns, hating you because they are pawns, could make away from their appointed posts that you might get checkmate on a sudden. You might be the longest-headed of deductive reasoners, and yet you might be beaten by your own pawns. You would be especially likely to be beaten, if you depended arrogantly on your mathematical imagination, and regarded your passionate pieces with contempt. Yet this imaginary chess is easy compared with the game a man has to play against his fellow-men with other fellow-men for his instruments.

It may be that at some far distant day greater insight will show them that they must look for comfort and encouragement in their own souls. I myself think that the need to worship is no more than the survival of an old remembrance of cruel gods that had to be propitiated. I believe that God is within me or nowhere. If that's so, whom or what am I to worship-myself? Men are on different levels of spiritual development, and so the imagination of India has evolved the manifestations of the Absolute that are known as Brahma, Vishnu, Siva, and by a hundred other names. The Absolute is in Isvara, the creator and ruler of the world, and it is in the humble fetish before which the peasant in his sun-baked field places the offering of a flower. The multitudinous gods of India are but expedients to lead to the realization that the self is one with the supreme self.' I looked at Larry reflectively. 'I wonder just what it was that attracted you to this austere faith,' I said. 'I think I can tell you. I've always felt that there was something pathetic in the founders of religion who made it a condition of salvation that you should believe in them. It's as though they needed your faith to have faith in themselves. They remind you of those old pagan gods who grew wan and faint if they were not sustained by the burnt offerings of the devout. Advaita doesn't ask you to take anything on trust; it asks only that you should have a passionate craving to know Reality; it states that you can experience God as surely as you can experience joy or pain. And there are men in India today - hundreds of them for all I know - who have the certitude that they have done so. I found something wonderfully satisfying in the notion that you can attain Reality by knowledge. In later ages the sages of India in recognition of human infirmity admitted that salvation may be won by the way of love and the way of works, but they never denied that the noblest way, though the hardest, is the way of knowledge, for its instrument is the most precious faculty of man, his reason.

And she loved you with all her heart." He sprang to his feet and walked up and down the small room. "I don't want love. I haven't time for it. It's weakness. I am a man, and sometimes I want a woman. When I’ve satisfied my passion I'm ready for other things.I can't overcome my desire, but I hate it; it imprisons my spirit; I look forward to the time when I shall be free from all desire and can give myself without hindrance to my work. Because women can do nothing except love, they've given it a ridiculous importance. They want to persuade us that it's the whole of life. It's an insignificant part. I know lust. That's normal and healthy. Love is a disease. Women are the instruments of my pleasure; I have no patience with their claim to be helpmates, partners, companions. “ I had never heard Strickland speak so much at one time. He spoke with a passion of indignation. But neither here nor elsewhere do I pretend to give his exact words; his vocabulary was small, and he had no gift for framing sentences, so that one had to piece his meaning together out of interjections, the expression of his face, gestures and hackneyed phrases. "You should have lived at a time when women were chattels and men the masters of slaves, “ I said. "It just happens that I am a completely normal man." I could not help laughing at this remark, made in all seriousness; but he went on, walking up and down the room like a caged beast, intent on expressing what he felt, but found such difficulty in putting coherently. "When a woman loves you she's not satisfied until she possesses your soul. Because she's weak, she has a rage for domination, and nothing less will satisfy her.She has a small mind and she resents the abstract which she is unable to grasp. She is occupied with material things, and she is jealous of the ideal. The soul of man wanders through the uttermost regions of the universe, and she seeks to imprison it in the circle of her account-book. Do you remember my wife? I saw Blanche little by little trying all her tricks. With infinite patience she prepared to snare me and bind me. She wanted to bring me down to her level; she cared nothing for me, she only wanted me to be hers. She was willing to do everything in the world for me except the one thing I wanted: to leave me alone.

It's evident that with Beethoven the Romantic Revolution had already begun, bringing with it the new Artist, the artist as Priest and Prophet. This new creator had a new self-image: he felt himself possessed of divine rights, of almost Napoleonic powers and liberties — especially the liberty to break rules and make new ones, to invent new forms and concepts, all in the name of greater expressivity. His mission was to lead the way to a new aesthetic world, confident that history would follow his inspirational leadership. And so there exploded onto the scene Byron, Jean Paul, Delacroix, Victor Hugo, E. T. A. Hoffmann, Schumann, Chopin, Berlioz — all proclaiming new freedoms. Where music was concerned, the new freedoms affected formal structures, harmonic procedures, instrumental color, melody, rhythm — all of these were part of a new expanding universe, at the center of which lay the artist's personal passions. From the purely phonological point of view, the most striking of these freedoms was the new chromaticism, now employing a vastly enriched palette, and bringing with it the concomitant enrichment of ambiguity. The air was now filled with volcanic, chromatic sparks. More and more the upper partials of the harmonic series were taking on an independence of their own, playing hide-and-seek with their sober diatonic elders, like defiant youngsters in the heyday of revolt.

In a dark night, With anxious love inflamed, O, happy lot! Forth unobserved I went, My house being now at rest. TAKING these words, then, with reference to purgation, contemplation, or detachment, or poverty of spirit—these are, as it were, one and the same thing—they may be thus explained in this way, as if the soul were saying: In poverty, without protection and help1 in all my powers, the understanding in darkness, the will under constraint, the memory in trouble and distress, in the dark, in pure faith, which is the dark night of the natural faculties, the will alone touched by grief and affliction, and the anxieties of the love of God, I went forth out of myself, out of my low conceptions and lukewarm love, out of my scanty and poor sense of God, without being hindered by the flesh or the devil. 2. This was to me a great blessing, a happy lot, for by annihilating and subduing my faculties, passions, appetites,2 and affections—the instruments of my low conceptions of God—I went forth out of the scanty works and ways of my own to those of God; that is, my understanding went forth out of itself, and from human and natural3 became divine; for united to God in that purgation, it understands no more by its natural powers,4 but in the divine wisdom to which it is united. 3. My will went forth out of itself becoming divine, for now, united with the divine love, it loves no more meanly with the powers of its nature,5 but with the energy and pureness of the divine spirit. Thus the will acts now in the things of God, not in a human way, and the memory also is transformed in eternal apprehensions of glory. Finally, all the energies and affections of the soul are, in this night and purgation of the old man, renewed into a divine temper and delight.

In the words of the master: infinity but without melody. In the second place, with regard to the overthrowing,--this belongs at least in part, to physiology. Let us, in the first place, examine the instruments. A few of them would convince even our intestines (--they _throw open_ doors, as Handel would say), others becharm our very marrow. The _colour of the melody is_ all-important here, _the melody itself_ is of no importance. Let us be precise about _this_ point. To what other purpose should we spend our strength? Let us be characteristic in tone even to the point of foolishness! If by means of tones we allow plenty of scope for guessing, this will be put to the credit of our intellects. Let us irritate nerves, let us strike them dead: let us handle thunder and lightning,--that is what overthrows.{~HORIZONTAL ELLIPSIS~} But what overthrows best, is _passion_.--We must try and be clear concerning this question of passion. Nothing is cheaper than passion! All the virtues of counterpoint may be dispensed with, there is no need to have learnt anything,--but passion is always within our reach! Beauty is difficult: let us beware of beauty!{~HORIZONTAL ELLIPSIS~} And also of _melody!_ However much in earnest we may otherwise be about the ideal, let us slander, my friends, let us slander,--let us slander melody! Nothing is more dangerous than a beautiful melody! Nothing is more certain to ruin taste! My friends, if people again set about loving beautiful melodies, we are lost!{~HORIZONTAL ELLIPSIS~} _First principle_: melody is immoral. _Proof_: "Palestrina". _Application_: "Parsifal." The absence of melody is in itself sanctifying.{~HORIZONTAL ELLIPSIS~} And this is the definition of passion. Passion--or the acrobatic feats of ugliness on the tight-rope of enharmonic--My friends, let us dare to be ugly! Wagner dared it! Let us heave the mud of the most repulsive harmonies undauntedly before us. We must not even spare our hands! Only thus, shall we become _natural_.{~HORIZONTAL ELLIPSIS~}

A man’s power to connect his thought with its proper symbol, and so to utter it, depends on the simplicity of his character, that is, upon his love of truth and his desire to communicate it without loss. The corruption of man is followed by the corruption of language. When simplicity of character and the sovereignty of ideas is broken up by the prevalence of secondary desires—the desire of riches, of pleasure, of power, and of praise—and duplicity and falsehood take place of simplicity and truth, the power over nature as an interpreter of the will is in a degree lost; new imagery ceases to be created, and old words are perverted to stand for things which are not; a paper currency is employed, when there is no bullion in the vaults. In due time the fraud is manifest, and words lose all power to stimulate the understanding or the affections. Hundreds of writers may be found in every long-civilized nation who for a short time believe and make others believe that they see and utter truths, who do not of themselves clothe one thought in its natural garment, but who feed unconsciously on the language created by the primary writers of the country, those, namely, who hold primarily on nature. But wise men pierce this rotten diction and fasten words again to visible things; so that picturesque language is at once a commanding certificate that he who employs it is a man in alliance with truth and God. The moment our discourse rises above the ground line of familiar facts and is inflamed with passion or exalted by thought, it clothes itself in images. A man conversing in earnest, if he watch his intellectual processes, will find that a material image more or less luminous arises in his mind, contemporaneous with every thought, which furnishes the vestment of the thought. Hence, good writing and brilliant discourse are perpetual allegories. This imagery is spontaneous. It is the blending of experience with the present action of the mind. It is proper creation. It is the working of the Original Cause through the instruments he has already made.

It serves the American socialists as a leading argument in their endeavor to depict American capitalism as a curse of mankind. Reluctantly forced to admit that capitalism pours a horn of plenty upon people and that the Marxian prediction of the masses' progressive impoverishment has been spectacularly disproved by the facts, they try to salvage their detraction of capitalism by describing contemporary civilization as merely materialistic and sham. Bitter attacks upon modem civilization are launched by writers who think that they are pleading the cause of religion. They reprimand our age for its secularism. They bemoan the passing of a way of life in which, they would have us believe, people were not preoccupied with the pursuit of earthly ambitions but were first of ali concerned about the strict observance of their religious duties. They ascribe ali evils to the spread of skepticism and agnosticism and passionately advocate a return to the orthodoxy of ages gone by. It is hard to find a doctrine which distorts history more radically than this antisecularism. There have always been devout men, pure in heart and dedicated to a pious life. But the religiousness of these sincere believers had nothing in common with the established system of devotion. It is a myth that the political and social institutions of the ages preceding modem individualistic philosophy and modem capitalism were imbued with a genuine Christian spirit. The teachings of the Gospels did not determine the official attitude of the governments toward religion. It was, on the contrary, thisworldly concems of the secular rulers—absolute kings and aristocratic oligarchies, but occasionally also revolting peasants and urban mobs—that transformed religion into an instrument of profane political ambitions. Nothing could be less compatible with true religion than the ruthless persecution of dissenters and the horrors of religious crusades and wars. No historian ever denied that very little of the spirit of Christ was to be found in the churches of the sixteenth century which were criticized by the theologians of the Reformation and in those of the eighteenth century which the philosophers of the Enlightenment attacked. The ideology of individualism and utilitarianism which inaugurated modern capitalism brought freedom also to the religious longings of man. It shattered the pretension of those in power to impose their own creed upon their subjects. Religion is no longer the observance of articles enforced by constables and executioners. It is what a man, guided by his conscience, spontaneously espouses as his own faith. Modern Western civilization is thisworldly. But it was precisely its secularism, its religious indifference, that gave rein to the renascence of genuine religious feeling. Those who worship today in a free country are not driven by the secular arm but by their conscience. In complying with the precepts of their persuasion, they are not intent upon avoiding punishment on the part of the earthly authorities but upon salvation and peace of mind.

Non-rational creatures do not look before or after, but live in the animal eternity of a perpetual present; instinct is their animal grace and constant inspiration; and they are never tempted to live otherwise than in accord with their own animal dharma, or immanent law. Thanks to his reasoning powers and to the instrument of reason, language, man (in his merely human condition) lives nostalgically, apprehensively and hopefully in the past and future as well as in the present; has no instincts to tell him what to do; must rely on personal cleverness, rather than on inspiration from the divine Nature of Things; finds himself in a condition of chronic civil war between passion and prudence and, on a higher level of awareness and ethical sensibility, between egotism and dawning spirituality. But this "wearisome condition of humanity" is the indispensable prerequisite of enlightenment and deliverance. Man must live in time in order to be able to advance into eternity, no longer on the animal, but on the spiritual level; he must be conscious of himself as a separate ego in order to be able consciously to transcend separate selfhood; he must do battle with the lower self in older that he may become identified with that higher Self within him, which is akin to the divine Not-Self; and finally he must make use of his cleverness in order to pass beyond cleverness to the intellectual vision of Truth, the immediate, unitive knowledge of the divine Ground. Reason and its works "are not and cannot be a proximate means of union with God." The proximate means is "intellect," in the scholastic sense of the word, or spirit. In the last analysis the use and purpose of reason is to create the internal and external conditions favourable to its own transfiguration by and into spirit. It is the lamp by which it finds the way to go beyond itself. We see, then, that as a means to a proximate means to an End, discursive reasoning is of enormous value. But if, in our pride and madness, we treat it as a proximate means to the divine End (as so many religious people have done and still do), or if, denying the existence of an eternal End, we regard it as at once the means to Progress and its ever-receding goal in time, cleverness becomes the enemy, a source of spiritual blindness, moral evil and social disaster. At no period in history has cleverness been so highly valued or, in certain directions, so widely and efficiently trained as at the present time. And at no time have intellectual vision and spirituality been less esteemed, or the End to which they are proximate means less widely and less earnestly sought for. Because technology advances, we fancy that we are making corresponding progress all along the line; because we have considerable power over inanimate nature, we are convinced that we are the self-sufficient masters of our fate and captains of our souls; and because cleverness has given us technology and power, we believe, in spite of all the evidence to the contrary, that we have only to go on being yet cleverer in a yet more systematic way to achieve social order, international peace and personal happiness.

Before taking the discipline for the first time, Brother Martin spent considerable time in prayer. Then he lashed himself with an iron chain armed with hooks of steel until the blood flowed copiously; to increase the pain and at the same time to staunch the flow of blood, he rubbed the wounds with salt and vinegar, in this way hoping to make reparation for his faults and failings. Then Martin would spend a long period of time in the chapter room, meditating on the sufferings of Our Divine Lord, with his eyes often fixed upon the crucifix. Filled with a longing to participate in the sorrows and pains endured by Christ, Martin made preparations for the second nightly flagellation by ripping off his garments, which were matted with blood and glued fast to his shoulders. The instrument of torture now was a leather whip, and Martin inflicted an even more severe punishment upon his back and shoulders, begging Almighty God to take pity upon sinners and especially to open wide the gates of heaven by the conversion of infidels. It was zeal for souls, for those for whom Christ had shed His own Precious Blood, that urged Blessed Martin to lash himself mercilessly with this leather whip. He was only too happy to share in the bitter Passion of Christ, on the details of which he had just lovingly meditated; and he would only too gladly endure any physical pain, any agony however terrifying, if only thereby he could win souls to Christ. Martin now permitted his weary body to snatch brief rest which we have mentioned previously. With the approach of dawn, before four o'clock, he arose and ran to the bell tower, where he greeted the dawn in honor of the Mother of God, as was his regular custom. It was at this time that the holy Negro took the third and most severe of his scourgings. Again, it was preceded by prayer and the cruel removal of the rough tunic which was stuck fast to his flesh. This third scourging was administered with the branch of a wild quince tree, and sometimes Martin would enlist the assistance of an Indian or a Negro in whom he could confide and who was indebted to Blessed Martin for some outstanding kindness. Mercilessly the lash was applied by strong and powerful hands. In the midst of his sufferings Martin would urge on his friend to greater vigor and to be utterly brutal in applying this instrument for penance. This third and last scourging was for the relief of the Poor Souls abandoned in the fires of Purgatory.

I spent the two and one-half months between my meeting with the Art Commission and the beginning of my actual mural work in soaking up impressions of the productive activities of the city. I studied industrial scenes by night as well as by day, making literally thousands of sketches of towering blast furnaces, serpentine conveyor belts, impressive scientific laboratories, busy assembling rooms; also of precision instruments, some of them massive yet delicate; and of the men who worked them all. I walked for miles through the immense workshops of the Ford, Chrysler, Edison, Michigan Alkali, and Parke-Davis plants. I was afire with enthusiasm. My childhood passion for mechanical toys had been transmuted to a delight in machinery for its own sake and for its meaning to man -- his self-fulfillment and liberation from drudgery and poverty. That is why now I placed the collective hero, man-and-machine, higher than the old traditional heroes of art and legend. I felt that in the society of the future as already, to some extent, that of the present, man-and-machine would be as important as air, water, and the light of the sun. This was the "philosophy," the state of mind in which I undertook my Detroit frescoes.

We await their creative interpretations of works by others and we love how they freely adapt and alter the music we like and enjoy. The wonderful magical alchemy they co-create is enough to spur the imagination of the audience. There is no need for other instruments or vocals. The music alone suffices. Listening to them, we can close our eyes and be taken away to a faraway place, we can envision a story or embellish a memory. We can connect to spirit and source and what we connect to in our deepest being is akin to religious experience. They dedicate themselves to each performance fearlessly, courageously, passionately, and generously.

…and as she danced, a spinning tempest of lust, passion, and power, fiercely beautiful, every eye in the room upon her, something deep within him answered. His blood pounded to the cadence of drums and clapping hands, to the rhythm of strange instruments. The haze of khafkaa smoke, heady drink and perfume began to lift, replaced by a drug far more urgent, far more powerful...

have seen servants upon horses, and princes walking as servants upon the earth." Ecclesiastes 10:7 Upstarts frequently usurp the highest places, while the truly great pine in obscurity. This is a riddle in providence whose solution will one day gladden the hearts of the upright; but it is so common a fact, that none of us should murmur if it should fall to our own lot. When our Lord was upon earth, although he is the Prince of the kings of the earth, yet he walked the footpath of weariness and service as the Servant of servants: what wonder is it if his followers, who are princes of the blood, should also be looked down upon as inferior and contemptible persons? The world is upside down, and therefore, the first are last and the last first. See how the servile sons of Satan lord it in the earth! What a high horse they ride! How they lift up their horn on high! Haman is in the court, while Mordecai sits in the gate; David wanders on the mountains, while Saul reigns in state; Elijah is complaining in the cave while Jezebel is boasting in the palace; yet who would wish to take the places of the proud rebels? and who, on the other hand, might not envy the despised saints? When the wheel turns, those who are lowest rise, and the highest sink. Patience, then, believer, eternity will right the wrongs of time. Let us not fall into the error of letting our passions and carnal appetites ride in triumph, while our nobler powers walk in the dust. Grace must reign as a prince, and make the members of the body instruments of righteousness. The Holy Spirit loves order, and he therefore sets our powers and faculties in due rank and place, giving the highest room to those spiritual faculties which link us with the great King; let us not disturb the divine arrangement, but ask for grace that we may keep under our body and bring it into subjection. We were not new created to allow our passions to rule over us, but that we, as kings, may reign in Christ Jesus over the triple kingdom of spirit, soul, and body, to the glory of God the Father.

Processes of rationalization and disenchantment engender a shift from a social order founded upon value-rational beliefs and governed through charismatic and traditional forms of authority, to an order ruled by the force of instrumental reason and dominated by new forms of institutional bureaucracy. This movement results in the depersonalization of the social world: instrumental calculation steadily suppresses the passionate pursuit of ultimate values, and bureaucracy reduces the scope for individual initiative and personal fulfillment... instrumental reason... is not only tied to the devaluation or disenchantment of the highest and most sublime values and ideals, but places important limits on the scope for individual autonomy and freedom in the modern world.

So the sound she'd heard had been wings rather than demented passion. That was disappointing

This is the flip side of the soul-sucking cubicle-dweller jobs we assume are where dreams go to die. All those books aimed at convincing you to go follow your passion are based on the assumption that if you do so, your life will automatically be more fulfilling. But then let's say you become an entrepreneur or hit the road with your band or land a gig writing guidebooks that takes you all over the world. You can still discover that--gasp!--it's not all it's cracked up to be. Being fulfilled is all about the day-to-day details, and if that involves schlepping your instrument from one gig to another in order to cobble together a living, it may be that there is no piece of chamber music beautiful enough to save you from your misery. And then you have to be smart enough to change course instead of clinging to some idea of yourself or the thing you wanted.

Dancing is my passion. Dancing means dreaming with your feet. The poetry of your body. What I cannot express with words I express with my body. I move to the music, let it flow through my limbs. Form the notes within me. Make them visible. Become one with the music. I become an instrument. I become music. I am music. I am entirely in the moment. I live and breathe and swirl in a circle, flow in gentle movements with the harmonies, fly through the skies. I am all mine, all my own. I am free.

Privileged groups have other persistent methods of justifying their special interests in terms of general interest. The assumption that they possess unique intellectual gifts and moral excellencies which redound to the general good, is only one of them. Perhaps a more favorite method is to identify the particular organisation of society, of which they are the beneficiaries, with the peace and order of society in general and to appoint themselves the apostles of law and order. Since every society has an instinctive desire for harmony and avoidance of strife, this is a very potent instrument of maintaining the unjust status quo. No society has ever achieved peace without incorporating injustice into its harmony. Those who would eliminate the injustice are therefore always placed at the moral disadvantage of imperiling its peace. The privileged groups will place them under that moral disadvantage even if the efforts toward justice are made in the most pacific terms. They will claim that it is dangerous to disturb a precarious equilibrium and will feign to fear anarchy as the consequence of the effort. This passion for peace need not always be consciously dishonest. Since those who hold special privileges in society are naturally inclined to regard their privileges as their rights and to be unmindful of the effects of inequality upon the underprivileged, they will have a natural complacence toward injustice. Every effort to disturb the peace, which incorporates the injustice, will therefore seem to them to spring from unjustified malcontent. They will furthermore be only partly conscious of the violence and coercion by which their privileges are preserved and will therefore be particularly censorious of the use of force or the threat of violence by those who oppose them. The force they use is either the covert force of economic power or it is the police power of the state, seemingly sanctified by the supposedly impartial objectives of the government which wields it, but nevertheless amenable to their interests. They are thus able in perfect good faith to express abhorrence of the violence of a strike by workers and to call upon the state in the same breath to use violence in putting down the strike. The unvarying reaction of capitalist newspapers to outbreaks of violence in labor disputes is to express pious abhorrence of the use of violent methods and then to call upon the state to use the militia in suppressing the exasperated workers. Perhaps it is a little too generous to attribute good faith to such reasoning, particularly since the privileged classes are not averse to the policy of augmenting the police power of the state with their own instruments of defense and aggression. The use of company police in labor disputes has resulted in more than one scandal of cruel oppression in the United States.

go through your “List of 100 Dreams,” choose a small number of activities—one, two, or at most three—that truly matter to you. If you’ve got kids who also need your attention, you’re better off sticking closer to one or two than three, because doing fun activities with your family will be another major leisure-time commitment (see Chapter 6 for more about this). Encourage your kids to adopt the same philosophy. Contrary to popular belief, Princeton’s and Harvard’s admissions officers are not looking for scattershot résumés of two instruments, three sports, four volunteer activities, and five hobbies. That’s not passion, that’s ADD. Once you’ve chosen a narrow-enough focus, you can throw enough energy into your activities to get better and get somewhere—like building five wells in Tanzania that didn’t exist before—and hence use your time to actually “recreate.

She lifted her shoulders and wandered away from him, walking a path around the instrument. “I don’t wish to perform for empty seats.” She paused and met his gaze squarely. “I don’t wish to perform for any seats. Everything we do,” she went on, frustration with her lot glaring in her every admission, “from how we speak, to walk, to hold a fan is used as a currency to judge a lady’s worth.” The eyes she lifted to his glittered with passion. “I’ll not let my voice be something else used to put me on display for—” Gregory moved quickly and, cupping her nape, claimed her mouth.

As today’s young people seek a more coherent sense of identity, the stress that formerly hit them in college, or even after college, now begins in middle school (or younger). By high school, many middle- and upper-class teenagers juggle digital calendars jammed with extracurricular activities that begin as early as 6:00 a.m., after-school study sessions, college entrance exam tutoring, and sports team practices that leave them trailing home after 10:00 p.m.11 Followed by two to three hours of homework.12 Athletes used to specialize in a single sport in high school; now that starts in elementary school. Previously, musicians and artists could freely dabble in various media and instruments throughout high school; present-day teenagers have to claim their craft in middle school. No longer can a kid flirt with a handful of hobbies, discovering various facets of their personality and passions, before choosing what they love. There’s so little time for thoughtful and measured exploration in high school that young adults end up exploring their skills and passions well into their twenties. A recent study showed that 13- to 17-year-olds are more likely to feel “extreme stress” than adults.13 Even more alarming is that the adults closest to young people are often blind to their heightened stress levels. Approximately 20 percent of teenagers confess that they worry “a great deal” about current and future life events. But only 8 percent of the parents of these same teenagers report that their child is experiencing a great deal of stress.14 Parents often don’t realize the constant heat felt by adolescents, increasing the pressure for them to figure out who they are and what’s important to them. After adolescence, emerging adults race from the proverbial stress-filled pot into the stress-fueled fire.15 Fewer college students are reporting “above-average” health since this question was first asked in 1985.16

Work is the major instrument for conversion

I had reached the level of expertise you would expect from someone who had played an instrument seriously for the last six years. But this is what I find fascinating: Compared to Jordan Tice’s ability at this same age, I was mediocre.

Asymmetries in hedonic and instrumental consequences can also lead to the formation and maintenance of beliefs that can have more serious consequences, such as those that induce marital conflict. Many people claim that their spouses “never” do the chores or tasks they have agreed to do. While the claim is surely justified in some cases, in others it may stem from the fact that the spouse’s failure to wash the dishes, clean the counter, or do the laundry arouses resentment and anger, and can have immediate instrumental consequences such as the need to do the tasks oneself. When the tasks are performed on time, however, the world runs smoothly and there is little to notice. Similar processes operate in the common belief among couples that they are “out of sync”—it seems one always wants to stay home and watch TV when the other needs to socialize, one wants to make love when the other “needs some space,” one is upbeat when the other is morose, etc. Here too, there may be an inherent asymmetry in the salience of relevant events that can make things seem more out of sync than they really are. Wanting to do something when the other does not is frustrating, and it can occupy the contents of one’s mental life for some time. Examples of asynchrony are therefore easily brought to mind. But again, when a couple’s passions, preferences, or moods coincide, things go smoothly and the events can be less noteworthy. Furthermore, even when they do stand out, they tend to do so by virtue of the quality of the events themselves, and not by virtue of the synchrony that produced them. They are categorized and remembered as instances of laughter, passion, or fun, and not as instances of synchrony.

In Isabelle's world rage equaled passion equaled a good time

In Isabelle's world rage equaled passion equalled a good time

In Isabelle's world, rage equaled passion equaled a good time

Well, she was weak, as weak as you must expect women to be after centuries of custom have bred weakness into their very nature. Why are women weak? Because men have made them so. Because the law that was framed by men, and the public opinion which it has been their privilege to direct, have from age to age drilled into women the belief that they are chattels, to be owned and played with, existing for the male pleasure and passion. Because men have systematically stunted their mental growth and denied them their natural rights, and that equality which is theirs. Weak! Women have become weak because weakness is the passport to the favour of our sex. They have become foolish because education has been withheld from them and ability discouraged; they have become frivolous because frivolity has been declared to be the natural mission of woman. There is no male simpleton who does not like to find a bigger simpleton than he is to lord it over. Truly, the triumph of the stronger sex has been complete, for it has even succeeded in enlisting its victims in its service. The great instruments in the suppression of women, and in their retention at their present level, are women themselves.