Introductory Love Quotes

I still believe in the resilience of the human heart and the essential validity of love;I still believe that connections between people can be made and that the spirits which inhabit us sometimes touch. I still believe that the cost of these connections is horribly, outrageously high... and I still believe that the value received far outweighs the price which must be paid. (From introductory notes.)

My hope is that what has gone before is only the introductory chapter of our love story. There are more memories to be made. ~ Ian

76. David Hume – Treatise on Human Nature; Essays Moral and Political; An Enquiry Concerning Human Understanding 77. Jean-Jacques Rousseau – On the Origin of Inequality; On the Political Economy; Emile – or, On Education, The Social Contract 78. Laurence Sterne – Tristram Shandy; A Sentimental Journey through France and Italy 79. Adam Smith – The Theory of Moral Sentiments; The Wealth of Nations 80. Immanuel Kant – Critique of Pure Reason; Fundamental Principles of the Metaphysics of Morals; Critique of Practical Reason; The Science of Right; Critique of Judgment; Perpetual Peace 81. Edward Gibbon – The Decline and Fall of the Roman Empire; Autobiography 82. James Boswell – Journal; Life of Samuel Johnson, Ll.D. 83. Antoine Laurent Lavoisier – Traité Élémentaire de Chimie (Elements of Chemistry) 84. Alexander Hamilton, John Jay, and James Madison – Federalist Papers 85. Jeremy Bentham – Introduction to the Principles of Morals and Legislation; Theory of Fictions 86. Johann Wolfgang von Goethe – Faust; Poetry and Truth 87. Jean Baptiste Joseph Fourier – Analytical Theory of Heat 88. Georg Wilhelm Friedrich Hegel – Phenomenology of Spirit; Philosophy of Right; Lectures on the Philosophy of History 89. William Wordsworth – Poems 90. Samuel Taylor Coleridge – Poems; Biographia Literaria 91. Jane Austen – Pride and Prejudice; Emma 92. Carl von Clausewitz – On War 93. Stendhal – The Red and the Black; The Charterhouse of Parma; On Love 94. Lord Byron – Don Juan 95. Arthur Schopenhauer – Studies in Pessimism 96. Michael Faraday – Chemical History of a Candle; Experimental Researches in Electricity 97. Charles Lyell – Principles of Geology 98. Auguste Comte – The Positive Philosophy 99. Honoré de Balzac – Père Goriot; Eugenie Grandet 100. Ralph Waldo Emerson – Representative Men; Essays; Journal 101. Nathaniel Hawthorne – The Scarlet Letter 102. Alexis de Tocqueville – Democracy in America 103. John Stuart Mill – A System of Logic; On Liberty; Representative Government; Utilitarianism; The Subjection of Women; Autobiography 104. Charles Darwin – The Origin of Species; The Descent of Man; Autobiography 105. Charles Dickens – Pickwick Papers; David Copperfield; Hard Times 106. Claude Bernard – Introduction to the Study of Experimental Medicine 107. Henry David Thoreau – Civil Disobedience; Walden 108. Karl Marx – Capital; Communist Manifesto 109. George Eliot – Adam Bede; Middlemarch 110. Herman Melville – Moby-Dick; Billy Budd 111. Fyodor Dostoevsky – Crime and Punishment; The Idiot; The Brothers Karamazov 112. Gustave Flaubert – Madame Bovary; Three Stories 113. Henrik Ibsen – Plays 114. Leo Tolstoy – War and Peace; Anna Karenina; What is Art?; Twenty-Three Tales 115. Mark Twain – The Adventures of Huckleberry Finn; The Mysterious Stranger 116. William James – The Principles of Psychology; The Varieties of Religious Experience; Pragmatism; Essays in Radical Empiricism 117. Henry James – The American; The Ambassadors 118. Friedrich Wilhelm Nietzsche – Thus Spoke Zarathustra; Beyond Good and Evil; The Genealogy of Morals;The Will to Power 119. Jules Henri Poincaré – Science and Hypothesis; Science and Method 120. Sigmund Freud – The Interpretation of Dreams; Introductory Lectures on Psychoanalysis; Civilization and Its Discontents; New Introductory Lectures on Psychoanalysis 121. George Bernard Shaw – Plays and Prefaces

The child is brought up to know its social duties by means of a system of love-rewards and punishments, and in this way it is taught that its security in life depends on its parents (and, subsequently, other people) loving it and being able to believe in its love for them.

We are astonished to hear declarations by married women and girls which bear witness to a quite particular attitude to the therapeutic problem: they had always known, they say, that they could only be cured by love.

Now peradventure, in that mighty book Which men call heaven, it had come to pass, In stars, when first a living breath he took, That he for love should get his death, alas!

I’ve learned to sometimes ask, “Where did you grow up?” which gets people talking about their hometown. I travel a lot for work, so there’s a good chance I’ll know something about their place. Other easy introductory questions are things like “That’s a lovely name. How did your parents choose it?” That prompts conversations about cultural background and family history. Those conversations often go off in good directions.

Christine's heart is thumping wildly. She lets herself be led (her aunt means her nothing but good) into a tiled and mirrored room full of warmth and sweetly scented with mild floral soap and sprayed perfumes; an electrical apparatus roars like a mountain storm in the adjoining room. The hairdresser, a brisk, snub-nosed Frenchwoman, is given all sorts of instructions, little of which Christine understands or cares to. A new desire has come over her to give herself up, to submit and let herself be surprised. She allows herself to be seated in the comfortable barber's chair and her aunt disappears. She leans back gently, and, eyes closed in a luxurious stupor, senses a mechanical clattering, cold steel on her neck, and the easy incomprehensible chatter of the cheerful hairdresser; she breathes in clouds of fragrance and lets aromatic balms and clever fingers run over her hair and neck. Just don't open your eyes, she thinks. If you do, it might go away. Don't question anything, just savor this Sundayish feeling of sitting back for once, of being waited on instead of waiting on other people. Just let our hands fall into your lap, let good things happen to you, let it come, savor it, this rare swoon of lying back and being ministered to, this strange voluptuous feeling you haven't experienced in years, in decades. Eyes closed, feeling the fragrant warmth enveloping her, she remembers the last time: she's a child, in bed, she had a fever for days, but now it's over and her mother brings some sweet white almond milk, her father and her brother are sitting by her bed, everyone's taking care of her, everyone's doing things for her, they're all gentle and nice. In the next room the canary is singing mischievously, the bed is soft and warm, there's no need to go to school, everything's being done for her, there are toys on the bed, though she's too pleasantly lulled to play with them; no, it's better to close her eyes and really feel, deep down, the idleness, the being waited on. It's been decades since she thought of this lovely languor from her childhood, but suddenly it's back: her skin, her temples bathed in warmth are doing the remembering. A few times the brisk salonist asks some question like, 'Would you like it shorter?' But she answers only, 'Whatever you think,' and deliberately avoids the mirror held up to her. Best not to disturb the wonderful irresponsibility of letting things happen to you, this detachment from doing or wanting anything. Though it would be tempting to give someone an order just once, for the first time in your life, to make some imperious demand, to call for such and such. Now fragrance from a shiny bottle streams over her hair, a razor blade tickles her gently and delicately, her head feels suddenly strangely light and the skin of her neck cool and bare. She wants to look in the mirror, but keeping her eyes closed in prolonging the numb dreamy feeling so pleasantly. Meanwhile a second young woman has slipped beside her like a sylph to do her nails while the other is waving her hair. She submits to it all without resistance, almost without surprise, and makes no protest when, after an introductory 'Vous etes un peu pale, Mademoiselle,' the busy salonist, employing all manner of pencils and crayons, reddens her lips, reinforces the arches of her eyebrows, and touches up the color of her cheeks. She's aware of it all and, in her pleasant detached stupor, unaware of it too: drugged by the humid, fragrance-laden air, she hardly knows if all this happening to her or to some other, brand-new self. It's all dreamily disjointed, not quite real, and she's a little afraid of suddenly falling out of the dream.

Chicken Cacciatore I am a lover of braised meats, whether it’s pot roast or short ribs or beef brisket…or this beautiful stewed chicken dish. Just give me some meat, a pot with a lid, and some combination of liquid ingredients, and I’ll be eating out of your hand…as long as your hand is holding braised meat. That might have been the weirdest introductory sentence of any recipe I’ve ever written. Chicken cacciatore generally involves browning chicken pieces in a pot over high heat, then sautéing a mix of vegetables--onions, peppers, mushrooms, tomatoes--in the same pot. Spices are added, followed by a little wine and broth, and the chicken and veggies are allowed to cook together in the oven long enough for magic to happen… And magic does happen. I use chicken thighs for this recipe because I happen to love chicken thighs. But you can use a cut-up whole chicken or a mix of your favorite pieces. Just be sure to leave the skin on or you’ll regret it the rest of your life. Not that I’m dramatic or anything.

Anderson’s use of the word ‘grotesque’ is quite important in this context. In its usual sense in reference to human beings it connotes disgust or revulsion, but Anderson’s use is quite different. To him a grotesque is, as he points out later, like the twisted apples that are left behind in the orchards because they are imperfect. These apples, he says, are the sweetest of all, perhaps even because of the imperfections that have caused them to be rejected. He approaches the people in his stories as he does the apples, secure in his knowledge that the sources or natures of their deformities are unimportant when compared to their intrinsic worth as human beings needing and deserving of understanding. This approach is based on intuition rather than objective knowledge, and it is the same sort of intuition with which one approaches the twisted apples; he believes that one dare not reject because of mere appearance, either physical or spiritual; that appearance may mask a significant experience made more intense and more worthwhile by the deformity itself. In the body of the work proper, following this introductory sketch, Anderson has set up an organizational pattern that no only gives partial unity to the book but explores systematically the diverse origins of the isolation of his people, each of whom is in effect a social displaced person because he is cut off from human intercourse with his fellow human beings. In the first three stories Anderson deals with three aspects of the problem of human isolation. The first story, ‘Hands,’ deals with the inability to communicate feeling; the second, ‘Paper Pills,’ is devoted to the inability to communicate thought; and the third, ‘Mother,’ focuses on the inability to communicate love. This three-phased examination of the basic problem of human isolation sets the tone for the rest of the book because these three shortcomings, resulting partially from the narrowness of the vision of each central figure but primarily from the lack of sympathy with which the contemporaries of each regard him, are the real creators of the grotesques in human nature. Each of the three characters has encountered one aspect of the problem: he has something that he feels is vital and real within himself that he wants desperately to reveal to others, but in each case he is rebuffed, and, turning in upon himself, he becomes a bit more twisted and worn spiritually. But, like the apples left in the orchards, he is the sweeter, the more human for it. In each case the inner vision of the main character remains clear, and the thing that he wishes to communicate is in itself good, but his inability to break through the shell that prevents him from talking to others results in misunderstanding and spiritual tragedy. David D. Anderson “Sherwood Anderson’s Moments of Insight

Love, certainly, might be a momentarily strong force capable of moving individuals in strange and remarkable ways, but given sufficient time and the relentless weathering effects of repetition it will always and ultimately diffuse into boredom and melancholy.

The very concept of a loving personal creator was only ever a secondary invention, a grinning wicker man thrown together in antiquity and stood in place as a chimerical response to a world whose everyday works betray the fantasy in every possible way.

The common baron caterpillar did not, for example, anticipate the benefits of camouflage. Elephants no sooner considered in advance the potential rewards of growing large ears than the artic rabbit contemplated the profit of shrinking theirs. Encystment was not a survival strategy devised by protozoa, bacteria, and many species of nematodes because they foretasted some future hardship and made preparations when times were good and danger was rare. Ancestral wildebeest did not carefully plot out their species’ enormous migratory patterns because of an innate love of travel and a fondness of new vistas.

Lacking real compassion and charity for others, he would take pleasure in weeping and rejoicing with the fictional characters on the stage. His love was not real.

Granted that it is best to seek the meaning intended by the author, we should not forget that Scripture is about love. We must approach Scripture in faith, hope, and love, and not place our trust in our own interpretations, which can lead us astray. Not erudition, but faith, hope, and love lead us to our goal of the vision of God. Many will attain this goal without studying even the books of Scripture.

Those closest to us have first claim to our acts of love.

Humanity has in the course of time had to endure from the hands of science two great outrages upon its naive self-love. The first was when it realized that our earth was not the center of the universe, but only a tiny speck in a world-system of a magnitude hardly conceivable; this is associated in our minds with the name of Copernicus, although Alexandrian doctrines taught something very similar. The second was when biological research robbed man of his peculiar privilege of having been specially created, and relegated him to a descent from the animal world, implying an ineradicable animal nature in him: this transvaluation has been accomplished in our own time upon the instigation of Charles Darwin, Wallace, and their predecessors, and not without the most violent opposition from their contemporaries. But man's craving for grandiosity is now suffering the third and most bitter blow from present-day psychological research which is endeavoring to prove to the ego of each one of us that he is not even master in his own house, but that he must remain content with the veriest scraps of information about what is going on unconsciously in his own mind. We psycho-analysts were neither the first nor the only ones to propose to mankind that they should look inward; but it appears to be our lot to advocate it most insistently and to support it by empirical evidence which touches every man closely.” ― Sigmund Freud, Introduction à la psychanalyse

I taught an introductory creative writing class at Princeton last year and, in addition to the classic ‘show don’t tell’, I often told my students that their fiction needed to have ’emotional truth’ […]: a quality different from honesty and more resilient than fact, a quality that existed not in the kind of fiction that explains but in the kind of fiction that shows. All the novels I love, the ones I remember, the ones I re-read, have this empathetic human quality. And because I write the kind of fiction I like to read, when I started Half of a Yellow Sun […], I hoped that emotional truth would be its major recognizable trait. […] Successful fiction does not need to be validated by ‘real life’; I cringe whenever a writer is asked how much of a novel is ‘real’. Yet, […] to write realistic fiction about war, especially one central to the history of one’s own country, is to be constantly aware of a responsibility to something larger than art. While writing Half of a Yellow Sun, I enjoyed playing with minor things [such as inventing a train station in a town that has none]. Yet I did not play with the central events of that time. I could not let a character be changed by anything that had not actually happened. If fiction is indeed the soul of history, then I was equally committed to the fiction and the history, equally keen to be true to the spirit of the time as well as to artistic vision of it. The writing itself was a bruising experience. […] But there were also moments of extravagant joy when I recognized, in a character or moment or scene, that quality of emotional truth.” In the Shadow of Biafra (essay included in the 2007 Harper Perennial edition of Half of a Yellow Sun).

more interesting is the process by which a young man's parents, who purportedly love him, can be induced to send him off to war to his death. Although the scope of this work will not allow this matter to be expanded in full detail, nevertheless, a coarse overview will be possible and can serve to reveal those factors which must be included in some numerical form in a computer analysis of social and war systems.