Recreational Life Quotes

LAW 25 Re-Create Yourself Do not accept the roles that society foists on you. Re-create yourself by forging a new identity, one that commands attention and never bores the audience. Be the master of your own image rather than letting others define if for you. Incorporate dramatic devices into your public gestures and actions – your power will be enhanced and your character will seem larger than life.

The human body essentially recreates itself every six months. Nearly every cell of hair and skin and bone dies and another is directed to its former place. You are not who you were last November.

When you need to be loved, you take love wherever you can find it. When you are desperate to be loved, feel love, know love, you seek out what you think love should look like. When you find love, or what you think love is, you will lie, kill, and steal to keep it. But learning about real love comes from within. It cannot be given. It cannot be taken away. It grows from your ability to re-create within yourself, the essence of loving experiences you have had in your life.

Beloved, surrender wholeheartedly to Jesus Christ, who loves you. As you drink from the deep well of Scripture, the Lord will refresh you and cleanse you, mold you and re-create you through His Living Word. For the Bible is the very breath of God, giving life eternal to those who seek Him.

My biggest discovery was that you can literally re-create your life. You can redefine it. You don’t have to live in the past. I found that not only did I have fight in me, I had love.

Maybe the best thing to do with favorite books is to leave them be: to achieve such exalted position means that they entered your life at exactly the right time, in precisely the right place, and those conditions can never be recreated.

Eight hours work, eight hours sleep, and eight hours recreation - Brigham Young

Never show anger at slight, tell nothing. Earn respect from everyone by deeds, not Words. Respect the members of your Blood Family. Gambling was Recreation, not a way to earn a Living. Love your Father, your Mother, your Sister but beware of Loving any other Woman than your Wife. And a Wife was a woman who bore your Children. And once that happened to You, your Life was Forfeit to give them their daily bread

The job of feets is walking, but their hobby is dancing.

You can’t re-create the first time you promise to love someone or the first time you feel loved by another. You cannot relive the sensation of fear, admiration, self-­consciousness, passion, and desire all mixed into one because it never happens twice. You chase it like the first high for the rest of your life. It doesn’t mean you can’t love another or move on; it just means that the one spontaneous moment, the split second that you took the leap, when your heart was racing and your mind was muddled with What ifs?—that moment—will never happen the same way again. It will never feel as intense as the first time. At least, that’s the way I remember it. That’s why my mother always said we memorialize our past. Everything seems better in a memory.

To live, to err, to fall, to triumph, to recreate life out of life. A wild angel appeared to him, the angel of mortal youth and beauty, an envoy from the fair courts of life, to throw open before him in an instant of ecstasy the gates of all the ways of error and glory. On and on and on and on!

Multiple times he has tried writing his thoughts about Marianne down on paper in an effort to make sense of them. He's moved by a desire to describe in words exactly how she looks and speaks. Her hair and clothing. The copy of Swann's Way she reads at lunchtime in the school cafeteria, with a dark French painting on the cover and a mint-coloured spine. Her long fingers turning the pages. She's not leading the same kind of life as other people. She acts so worldly at times, making him feel ignorant, but then she can be so naive. He wants to understand how her mind works... He writes these things down, long run-on sentences with too many dependent clauses, sometimes connected with breathless semicolons, as if he wants to recreate a precise copy of Marianne in print, as if he can preserve her completely for future review.

The first words that are read by seekers of enlightenment in the secret, gong-banging, yeti-haunted valleys near the hub of the world, are when they look into The Life of Wen the Eternally Surprised. The first question they ask is: 'Why was he eternally surprised?' And they are told: 'Wen considered the nature of time and understood that the universe is, instant by instant, recreated anew. Therefore, he understood, there is in truth no past, only a memory of the past. Blink your eyes, and the world you see next did not exist when you closed them. Therefore, he said, the only appropriate state of the mind is surprise. The only appropriate state of the heart is joy. The sky you see now, you have never seen before. The perfect moment is now. Be glad of it.' The first words read by the young Lu-Tze when he sought perplexity in the dark, teeming, rain-soaked city of Ankh-Morpork were: 'Rooms For Rent, Very Reasonable.' And he was glad of it.

One writes out of one thing only--one's own experience. Everything depends on how relentlessly one forces from this experience the last drop, sweet or bitter, it can possibly give. This is the only real concern of the artist, to recreate out of the disorder of life that order which is art.

We must each adopt as much responsibility as possible for individual life, society and the world. We must each tell the truth and repair what is in disrepair and break down and recreate what is old and outdated. It is in this manner that we can and must reduce the suffering that poisons the world. It’s asking a lot. It’s asking for everything.

The writer's only real task: to recreate out of the disorder of life that order which is art

Recreate your life, always, always. Remove the stones, plant rose bushes and make sweets." Begin again.

War is not a polite recreation, but the vilest thing in life, and we ought to realize this and not make a game of it... as it stands now it's the favorite pastime of the idle and frivolous.

Relaxation and Recreation The most relaxing recreating forces are a healthy religion, sleep, music, and laughter. Have faith in God—learn to sleep well— Love good music—see the funny side of life— And health and happiness will be yours.

Through learning we re-create ourselves. Through learning we become able to do something we never were able to do. Through learning we reperceive the world and our relationship to it. Through learning we extend our capacity to create, to be part of the generative process of life

I can now recreate life in a way that was hidden from me, before.'A dream of form in days of thought:

I was especially happy when, going to bed and covering myself with a blanket, I began, alone now, in the most complete solitude, with no people moving around and not a single sound from them, to re-create life in a different key.

Because civilization isn't a thing that you build and then there it is, you have it forever. It needs to be built constantly, recreated daily. It vanishes far more quickly than he ever would have thought possible. And if he wishes to live, he must do what he can to prevent the world he wants to live in from fading away. As long as there's war, life is a preventative measure.

You can’t re-create the first time you promise to love someone or the first time you feel loved by another. You cannot relive the sensation of fear, admiration, self-consciousness, passion, and desire all mixed into one because it never happens twice. You chase it like the first high for the rest of your life.

Traumatic events destroy the sustaining bonds between individual and community. Those who have survived learn that their sense of self, of worth, of humanity, depends upon a feeling of connection with others. The solidarity of a group provides the strongest protection against terror and despair, and the strongest antidote to traumatic experience. Trauma isolates; the group re-creates a sense of belonging. Trauma shames and stigmatizes; the group bears witness and affirms. Trauma degrades the victim; the group exalts her. Trauma dehumanizes the victim; the group restores her humanity. Repeatedly in the testimony of survivors there comes a moment when a sense of connection is restored by another person’s unaffected display of generosity. Something in herself that the victim believes to be irretrievably destroyed---faith, decency, courage---is reawakened by an example of common altruism. Mirrored in the actions of others, the survivor recognizes and reclaims a lost part of herself. At that moment, the survivor begins to rejoin the human commonality...

The director’s task is to recreate life, its movement, its contradictions, its dynamic and conflicts. It is his duty to reveal every iota of the truth he has seen, even if not everyone finds that truth acceptable. Of course an artist can lose his way, but even his mistakes are interesting provided they are sincere. For they represent the reality of his inner life, of the peregrinations and struggle into which the external world has thrown him.

Her image had passed into his soul for ever and no word had broken the holy silence of his ecstasy. Her eyes had called him and his soul had leaped at the call. To live, to err, to fall, to triumph, to recreate life out of life! A wild angel had appeared to him, the angel of mortal youth and beauty, an envoy from the fair courts of life, to throw open before him in an instant of ecstasy the gates of all the ways of error and glory. On and on and on and on!

Avoid trivial pursuits. You are a child of God, destined for glory, and called to do great things in His Name. Do not waste your life on hobbies, sports, and other recreational pursuits. Do not throw away the precious moments of your life on entertainment, movies, and video games. Though some of these things can properly have a 'small place' in the Christian’s life, we must be careful not to give undue attention to temporal and fruitless activities. Do not waste your life. Employ the time of your youth in developing the character and skills necessary to be a useful servant of God.

This is the only real concern of the artist, to recreate out of the disorder of life that order which is art.

To live, to err, to fall, to triumph, to recreate life out of life.

Freedom to order our own conduct in the sphere where material circumstances force a choice upon us, and responsibility for the arrangement of our own life according to our own conscience, is the air in which alone moral sense grows and in which moral values are daily recreated in the free decision of the individual. Responsibility, not to a superior, but to one's own conscience, the awareness of a duty not exacted by compulsion, the necessity to decide which of the things one values are to be sacrificed to others, and to bear the consequences of one's own decision, are the very essence of any morals which deserve the name.

Perfume is magic. It’s mystery. We recreate the smell of a flower. Of wood. Of grass. We capture the essence of life. Liquefy it. We store memories. We make dreams,” he told her once. “What we do is a wonder, an art, and we have a responsibility to do it well.

We didn’t know it at the time, but we were lovesick. Our innocence was beautiful, impossible to capture again, impossible to re-create.

Find yourself. And if you don’t like what you see, re-create yourself. But first, please, find yourself.

We all, like Frodo, carry a Quest, a Task: our daily duties. They come to us, not from us. We are free only to accept or refuse our task- and, implicitly, our Taskmaster. None of us is a free creator or designer of his own life. "None of us lives to himself, and none of us dies to himself" (Rom 14:7). Either God, or fate, or meaningless chance has laid upon each of us a Task, a Quest, which we would not have chosen for ourselves. We are all Hobbits who love our Shire, or security, our creature comforts, whether these are pipeweed, mushrooms, five meals a day, and local gossip, or Starbucks coffees, recreational sex, and politics. But something, some authority not named in The Lord of the Rings (but named in the Silmarillion), has decreed that a Quest should interrupt this delightful Epicurean garden and send us on an odyssey. We are plucked out of our Hobbit holes and plunked down onto a Road.

We believe we are seeking happiness in love, but what we are really after is familiarity. We are looking to re-create, within our adult relationships, the very feelings we knew so well in childhood and which were rarely limited to just tenderness and care. The love most of us will have tasted early on came entwined with other, more destructive dynamics: feelings of wanting to help an adult who was out of control, of being deprived of a parent’s warmth or scared of his or her anger, or of not feeling secure enough to communicate our trickier wishes. How logical, then, that we should as adults find ourselves rejecting certain candidates not because they are wrong but because they are a little too right—in the sense of seeming somehow excessively balanced, mature, understanding, and reliable—given that, in our hearts, such rightness feels foreign and unearnt. We chase after more exciting others, not in the belief that life with them will be more harmonious, but out of an unconscious sense that it will be reassuringly familiar in its patterns of frustration.

What a face this girl possessed!—Could I neither die then nor gaze at her face every day, I would need to recreate it through painting or sculpture, or through fatherhood, until a second such face could be born.

We're not really taught how to recreate constructively. We need to do more than find diversions; we need to restore and expand ourselves. Our idea of relaxing is all too often to plop down in front of the television set and let its pandering idiocy liquefy our brains. Shutting off the thought process is not rejuvenating; the mind is like a car battery -- it recharges by running. You may be surprised to find how quickly daily routine and the demands of "just getting by" absorb your waking hours. You may be surprised to find how quickly you start to see your politics and religion become matters of habit rather than thought and inquiry. You may be surprised to find how quickly you start to see your life in terms of other people's expectations rather than issues. You may be surprised to find out how quickly reading a good book sounds like a luxury.

We spend all our energy and waste our lives trying to re-create these zones of safety, which are always falling apart. That's the essence of samsara - the cycle of suffering that comes from continuing to seek happiness in all the wrong places.

Life lived amidst tension and busyness needs leisure. Leisure that recreates and renews. Leisure should be a time to think new thoughts, not ponder old ills.

Just remember life is all an illusion.....it's your creation and you can dismantle it and re-create at will.

The peculiar predicament of the present-day self surely came to pass as a consequence of the disappointment of the high expectations of the self as it entered the age of science and technology. Dazzled by the overwhelming credentials of science, the beauty and elegance of the scientific method, the triumph of modern medicine over physical ailments, and the technological transformation of the very world itself, the self finds itself in the end disappointed by the failure of science and technique in those very sectors of life which had been its main source of ordinary satisfaction in past ages. As John Cheever said, the main emotion of the adult Northeastern American who has had all the advantages of wealth, education, and culture is disappointment. Work is disappointing. In spite of all the talk about making work more creative and self-fulfilling, most people hate their jobs, and with good reason. Most work in modern technological societies is intolerably dull and repetitive. Marriage and family life are disappointing. Even among defenders of traditional family values, e.g., Christians and Jews, a certain dreariness must be inferred, if only from the average time of TV viewing. Dreary as TV is, it is evidently not as dreary as Mom talking to Dad or the kids talking to either. School is disappointing. If science is exciting and art is exhilarating, the schools and universities have achieved the not inconsiderable feat of rendering both dull. As every scientist and poet knows, one discovers both vocations in spite of, not because of, school. It takes years to recover from the stupor of being taught Shakespeare in English Lit and Wheatstone's bridge in Physics. Politics is disappointing. Most young people turn their backs on politics, not because of the lack of excitement of politics as it is practiced, but because of the shallowness, venality, and image-making as these are perceived through the media--one of the technology's greatest achievements. The churches are disappointing, even for most believers. If Christ brings us new life, it is all the more remarkable that the church, the bearer of this good news, should be among the most dispirited institutions of the age. The alternatives to the institutional churches are even more grossly disappointing, from TV evangelists with their blown-dry hairdos to California cults led by prosperous gurus ignored in India but embraced in La Jolla. Social life is disappointing. The very franticness of attempts to reestablish community and festival, by partying, by groups, by club, by touristy Mardi Gras, is the best evidence of the loss of true community and festival and of the loneliness of self, stranded as it is as an unspeakable consciousness in a world from which it perceives itself as somehow estranged, stranded even within its own body, with which it sees no clear connection. But there remains the one unquestioned benefit of science: the longer and healthier life made possible by modern medicine, the shorter work-hours made possible by technology, hence what is perceived as the one certain reward of dreary life of home and the marketplace: recreation. Recreation and good physical health appear to be the only ambivalent benefits of the technological revolution.

If bread is the first necessity of life, recreation is a close second.

A master in the art of living draws no sharp distinction between her work and her play; her labor and her leisure; her mind and her body; her education and her recreation. She hardly knows which is which. She simply pursues her vision of excellence through whatever she is doing, and leaves others to determine if she is working or playing. To herself, she always appears to be doing both.

As long as you regard yourself or any part of your experience as the "dream come true," then you are involved in self-deception. Self-deception seems always to depend upon the dream world, because you would like to see what you have not yet seen, rather that what you are now seeing. You will not accept that whatever is here now is what is, nor are you willing to go on with the situation as it is. Thus, self-deception always manifests itself in terms of trying to create or recreate a dream world, the nostalgia of the dream experience. And the opposite of self-deception is just working with the facts of life.

For the virtuoso, musical works are in fact nothing but tragic and moving materializations of his emotions; he is called upon to make them speak, weep, sing and sigh, to recreate them in accordance with his own consciousness. In this way he, like the composer, is a creator, for he must have within himself those passions that he wishes to bring so intensely to life.

I’m just a storyteller, and the cinema happens to be my medium. I like it because it recreates life in movement, enlarges it, enhances it, distills it. For me, it’s far closer to the miraculous creation of life than, say, a painting or music or even literature. It’s not just an art form; it’s actually a new form of life, with its own rhythms, cadences, perspectives and transparencies. It’s my way of telling a story.

Recreate your life, always, always. Remove the stones, plant rose bushes and make sweets. Begin again.

The human body essentially recreates iteself every six months. Nearly every cell of hair and skin and bone dies and another is directed to its former place. You are not who you were in February.

ON BUSY BASTARDS: A busy bastard can’t stop finding things to do. He never rests and as a result, his staff never rests. He’s always making work that expands to fill whatever time is available. The point I make in my book is: Be busy, work hard, but don’t become so busy that you cut out other things in life, like family and recreation and hobbies. And never be so busy that you’re not giving your staff and your followers enough time to do the same thing.

I could spend whole days at Cinecittà. There, I am the greatest director of all time. On the town side, I reshoot the close-ups for Touch of Evil. Down at the beach, I rework the dolly shots for Stagecoach, and offshore I re-create the storm rocking the smugglers of Moonfleet.

I have lived in the shadow of loss—the kind of loss that can paralyze you forever. I have grieved like a professional mourner—in every waking moment, draining every ounce of my life force. I died—without leaving my body. But I came back, and now it’s your turn. I have learned to remember my past—without living in it. I am strong, electric, and alive, because I chose to dance, to laugh, to love, and to live again. I have learned that you can’t re-create the life you once had—you have to reinvent a life for yourself. And that reinvention is a gift, not a curse. I believe your future self is a work of art and that science can help you create it. If you’re lost . . . if you’re gone . . . if you can barely absorb the words on this page . . . I want you to hold this truth in your heart: when it’s your time to go, you won’t wish you had spent more time grieving; you’ll wish you had spent more time living. That’s why I’m here. And why you are, too. Let’s live like our lives depend on it.

In many ways, a race is analogous to life itself. Once it is over, it can not be re-created. All that is left are inpressions in the heart, and in the mind.

I said I didn’t like tricks, I liked life as I knew it recreated on the page. He said it wasn’t possible to recreate life on the page without tricks.

Losing a beloved family heirloom is a very real personal loss; they're things that cannot ever be replaced or re-created. But perhaps the most precious heirlooms are family recipes. Like a physical heirloom, they remind us from whom and where we came and give others, in a bite, the story of another people from another place and another time. Yet unlike a lost physical heirloom, recipes are a part of our history that can be re-created over and over again. The only way they can be lost is if we choose to lose them.

Second, nothing about adolescence can be understood outside the context of delayed frontocortical maturation. If by adolescence limbic, autonomic, and endocrine systems are going full blast while the frontal cortex is still working out the assembly instructions, we’ve just explained why adolescents are so frustrating, great, asinine, impulsive, inspiring, destructive, self-destructive, selfless, selfish, impossible, and world changing. Think about this—adolescence and early adulthood are the times when someone is most likely to kill, be killed, leave home forever, invent an art form, help overthrow a dictator, ethnically cleanse a village, devote themselves to the needy, become addicted, marry outside their group, transform physics, have hideous fashion taste, break their neck recreationally, commit their life to God, mug an old lady, or be convinced that all of history has converged to make this moment the most consequential, the most fraught with peril and promise, the most demanding that they get involved and make a difference. In other words, it’s the time of life of maximal risk taking, novelty seeking, and affiliation with peers. All because of that immature frontal cortex.

...rather than assuming that education is primarily about preparing for jobs and careers, what would it mean to think of education as a process of guiding kids' participation in public life more generally, a public life that includes social, recreational, and civic engagement.

Each generation stamps itself onto the next one. The impression is indelible. Like the flowers in my mother's gardens that come and go with the changing seasons, life re-creates itself. And the best of life must be nurtured if it is to thrive.

One of the most astounding dynamics in human relationships is how the unconscious intuition of our brain's right hemisphere is able to act as radar to find us just the right person to provoke and recreate our childhood attachment relationship ...I've given much thought to the question of why we are designed to be drawn -like a moth to a flame- to the very person who is most likely to resurrect all our childhood anguish. It seems like a cruel hoax to play on two wounded souls.

Here is one reason I think we always need new tarot decks being created. I think of tarot decks as similar to myths and so I think this quote applies: "Myths are so intimately bound to culture, time, and place that unless the symbols, the metaphors, are kept alive by constant recreation through the arts, the life just slips away from them." Joseph Campbell, The Power of Myth

Choose food, clothing, and shelter that accords with nature.Rely on your own body for transportation. Allow your work and your recreation to be one and the same. Do exercise that develops your whole being and not just your body. Listen to music that bridges the three spheres of your being. Choose leaders for their virtue rather than their wealth or power. Serve others and cultivate yourself simultaneously. Understand that true growth comes from meeting and solving problems of life in a way that is harmonizing to yourself and to others. If you can follow these simple old ways, you will be continually renewed.

Developing Christlike attributes in our lives is not an easy task, especially when we move away from generalities and abstractions and begin to deal with real life. The test comes in practicing what we proclaim. The reality check comes when Christlike attributes need to become visible in our lives—as husband or wife, as father or mother, as son or daughter, in our friendships, in our employment, in our business, and in our recreation. We can recognize our growth, as can those around us, as we gradually increase our capacity to 'act in all holiness before [Him]' (D&C 43:9).

We must each adopt as much responsibility as possible for individual life, society and the world. We must each tell the truth and repair what is in disrepair and break down and recreate what is old and outdated. It is in this manner that we can and must reduce the suffering that poisons the world. It’s asking a lot.

Work dominates life in Eden-Olympia, and drives out everything else. The dream of a leisure society was the great twentieth-century delusion. Work is the new leisure. Talented and ambitious people work harder than they have ever done, and for longer hours. They find their only fulfillment through work. The men and women running successful companies need to focus their energies on the task in front of them, and for every minute of the day. The last thing they want is recreation.

What these people were trying to create or re-create here in this new world is beyond me. I can't put myself in their minds or their hearts, but I can sympathize with their struggle for an identity, with their puzzlement, which has troubled Americans from the very beginning - Who are we, where do we fit in, where are we going?

War is not a polite recreation but the vilest thing in life, and we ought to understand that and not play at war. Our attitude towards the fearful necessity of war ought to be stern. It boils down to this: we should have done with humbug, and let war be war and not a game. Otherwise, war is a favourite pastime of the idle and frivolous...

Polyamory can feel threatening because it upsets our fairy-tale assumption that the right partner will keep us safe from change. Polyamory introduces the prospect of chaos and uncertainty into what's supposed to be a straightforward progression to bliss. But a healthy relationship must first of all be resilient, able to respond to the changes and complexity life brings. Nor is happiness actually a state of being. It is a process, a side effect of doing other things. The fairy tale tells us that with the right partner, happiness just happens. But happiness is something we re-create every day. And it comes more from our outlook than from the things around us.

When you're traumatized, your sense of self, your individuality, is beaten up. Your skin color, your background, your pain, your hope, your gender, your faith, it's all defiled. Those essential pieces of yourself are stolen. You, as a person, are emptied and flattened, and that violence, that theft, keeps you from embodying a life that feels like your own. To continue to exist, as a whole person, you need to re-create, for yourself, an identity untouched by everything that's been used against you. You need to imagine and build a self out of elements that are not tainted. You need to remake yourself on your own terms.

Anyone who has truly practiced a religion knows very well that it is [the set of regularly repeated actions that make up the cult] that stimulates the feelings of joy, inner peace, serenity, and enthusiasm that, for the faithful, stand as experimental proof of their beliefs. The cult is not merely a system of signs by which the faith is outwardly expressed; it is the sum total of means by which that faith is created and recreated periodically. Whether the cult consists of physical operations or mental ones, it is always the cult that is efficacious.

The Quiet Life Happy the man whose wish and care A few paternal acres bound Content to breathe his native air In his own ground. Whose herd with milk, whose fields with bread, Whose flocks supply him with attire; Whose trees in summer yield him shade, In winter, fire. Blest, who can unconcern’dly find Hours, days, and years, slide soft away In health of body; peace of mind; Quiet by day; Sound sleep by night; study and ease Together mix’d; sweet recreation, And innocence, which most does please With meditation. Thus let me live, unseen, unknown; Thus unlamented let me die; Steal from the world, and not a stone Tell where I lie.

His name was Jean-Paul Sartre. He looked at Descartes’s statement “I think, therefore I am” very deeply and suddenly realized, in his own words, “The consciousness that says ‘I am’ is not the consciousness that thinks.” What did he mean by that? When you are aware that you are thinking, that awareness is not part of thinking. It is a different dimension of consciousness. And it is that awareness that says “I am.” If there were nothing but thought in you, you wouldn’t even know you are thinking. You would be like a dreamer who doesn’t know he is dreaming. You would be as identified with every thought as the dreamer is with every image in the dream. Many people still live like that, like sleepwalkers, trapped in old dysfunctional mind-sets that continuously re-create the same nightmarish reality. When you know you are dreaming, you are awake within the dream.

The poet Mary Oliver did this in one of her poems, brazenly asking, “Tell me, what is it you plan to do with your one wild and precious life?” If you’re afraid you’ve come to this question too late, you are wrong. Ask your Stargazer self. It will tell you what my fallen-noble friend Marianna told me in one of my darker hours: that the world is re-created in every instant of time, and this moment is always your life’s beginning. No matter how many years have been stolen from you by your own ignorance, by cruel fate, or by the acts of others, you have a clean, broad slate before you. In this instant—this one now—you can begin steering by starlight, and if you do, the rest of creation will conspire to guide, teach, and help you.

When I first thought about writing this book, I conceived of it as a book about moods, and an illness of moods, in the context of an individual life. As I have written it, however, it has somehow turned out to be very much a book about love as well: love as sustainer, as renewer, and as protector. After each seeming death within my mind or heart, love has returned to recreate hope and restore life. It has, at its best, made the inherent sadness of life bearable, and its beauty manifest. It has, inexplicably and savingly, provided not only cloak but lantern for the darker seasons and grimmer weather.

I would have practically done all my films in 3D. There is something that 3D gives to the picture that takes you into another land and you stay there and it’s a good place to be. (…) It’s like seeing a moving sculpture of the actor and it’s almost like a combination of theater and film combined and it immerses you in the story more. I saw audiences care about the people more. The minute it started people wanted three things: color, sound and depth. You want to recreate life.

In the sixties, the Commune emerged as a riposte to the nuclear family. This was an autonomic re-creation of not only preindustrial, but pre-agrarian life; it was the Return to Nature, but the Commune, like the colleges from which the idea reemerged, only functioned if Daddy was paying the bills, for the rejection of property can work only in subvention or in slavery. It is only in a summer camp (College or the hippie commune) that the enlightened live on the American Plan—room and board included prepaid—and one is free to frolic all day in the unspoiled woods.

Why one writes is a question I can answer easily, having so often asked it of myself. I believe one writes because one has to create a world in which one can live. I could not live in any of the worlds offered to me — the world of my parents, the world of war, the world of politics. I had to create a world of my own, like a climate, a country, an atmosphere in which I could breathe, reign, and recreate myself when destroyed by living. That, I believe, is the reason for every work of art. The artist is the only one who knows the world is a subjective creation, that there is a choice to be made, a selection of elements. It is a materialization, an incarnation of his inner world. Then he hopes to attract others into it, he hopes to impose this particular vision and share it with others. When the second stage is not reached, the brave artist continues nevertheless. The few moments of communion with the world are worth the pain, for it is a world for others, an inheritance for others, a gift to others, in the end. When you make a world tolerable for yourself, you make a world tolerable for others. We also write to heighten our own awareness of life, we write to lure and enchant and console others, we write to serenade our lovers. We write to taste life twice, in the moment and in retrospection.. We write, like Proust, to render all of it eternal, and to persuade ourselves that it is eternal. We write to be able to transcend our life, to reach beyond it. We write to teach ourselves to speak with others, to record the journey into the labyrinth, we write to expand our world, when we feel strangled, constricted, lonely. We write as the birds sing. As the primitive dance their rituals. If you do not breathe through writing, if you do not cry out in writing, or sing in writing, then don't write. Because our culture has no use for any of that. When I don't write I feel my world shrinking. I feel I am in prison. I feel I lose my fire, my color. It should be a necessity, as the sea needs to heave. I call it breathing.

...we are changed as technology offers us substitutes for connecting with each other face-to-face. We are offered robots and a whole world of machine-mediated relationships on networked devices. As we instant-message, e-mail, text, and Twitter, technology redraws the boundaries between intimacy and solitude. We talk of getting “rid” of our e-mails, as though these notes are so much excess baggage. Teenagers avoid making telephone calls, fearful that they “reveal too much.” They would rather text than talk. Adults, too, choose keyboards over the human voice. It is more efficient, they say. Things that happen in “real time” take too much time. Tethered to technology, we are shaken when that world “unplugged” does not signify, does not satisfy. After an evening of avatar-to avatar talk in a networked game, we feel, at one moment, in possession of a full social life and, in the next, curiously isolated, in tenuous complicity with strangers. We build a following on Facebook or MySpace and wonder to what degree our followers are friends. We recreate ourselves as online personae and give ourselves new bodies, homes, jobs, and romances. Yet, suddenly, in the half-light of virtual community, we may feel utterly alone. As we distribute ourselves, we may abandon ourselves. Sometimes people experience no sense of having communicated after hours of connection. And they report feelings of closeness when they are paying little attention. In all of this, there is a nagging question: Does virtual intimacy degrade our experience of the other kind and, indeed, of all encounters, of any kind?

What we need are transitions that recognize the hard limits on extraction and that simultaneously create new opportunities for people to improve quality of life and derive pleasure outside the endless consumption cycle, whether through publicly funded art and urban recreation or access to nature through new protections for wilderness. Crucially, that means making sure that shorter work weeks allow people the time for this kind of enjoyment, and that they are not trapped in the grind of overwork requiring the quick fixes of fast food and mind-numbing distractions.

One of the most ironic paradoxes of our time is this great availability of leisure that somehow fails to be translated into enjoyment. Compared to people living only a few generations ago, we have enormously greater opportunities to have a good time, yet there is no indication that we actually enjoy life more than our ancestors did. Opportunities alone, however, are not enough. We also need the skills to make use of them. And we need to know how to control consciousness—a skill that most people have not learned to cultivate. Surrounded by an astounding panoply of recreational gadgets and leisure choices, most of us go on being bored and vaguely frustrated.

He can hum the music in his old man's quivering voice, but he prefers it in his head, where it lives on in violins and reedy winds. If he imagines it in rehearsal he can remember every step of his three-minute solo as if he had danced it only yesterday, but he knows, too, that one time, onstage in Berlin, he had not danced it as he had learned it; this much he knows but cannot recreate, could no recreate it even a moment after he had finished dancing it. While dancing he had felt blind to the stage and audience, deaf to the music. He had let his body do what it needed to do, free to expand and contract in space, to soar and spin. So, accordingly, when he tries to remember the way he danced it on stage, he cannot hear the music or feel his feet or get a sense of the audience. He is embryonic, momentarily cut off from the world around him. The three most important minutes of his life, the ones that determined his fate and future, are the three to which he cannot gain access, ever.

I have to admit we are locked in the most exquisite mysterious muck. This muck heaves and palpitates. It is multi-directional and has a mayor. To describe it takes many hundreds of thousands of words. Our muck is only a part of a much greater muck -- the nation-state -- which is itself the creation of that muck of mucks, human consciousness. Of course all these things also have a touch of sublimity -- as when Moonbelly sings, for example, or all the lights go out. What a happy time that was, when all the electricity went away! If only we could re-create that paradise! By, for instance, all forgetting to pay our electric bills at the same time. All nine million of us. Then we'd all get those little notices that say unless we remit within five days the lights will go out. We all stand up from our chairs with the notice in ours hands. The same thought drifts across the furrowed surface of nine million minds. We wink at each other, through the walls.

Does it seem like things were better when you were younger?” Huck asked. “Did life really make more sense then?” “Yeah,” Tress whispered. “I remember…calm nights, watching the spores fall from the moon. Lukewarm cups of honey tea. The thrill of baking something new.” “I remember not being afraid,” Huck said. “I remember waking each day to familiar scents. I remember thinking I understood how my life would go. Same as my parents’. Simple. Maybe not wonderful, but also not terrifying.” “I don’t think things were really better though,” Tress said softly, still staring at the ceiling. “We just remember it that way because it’s comforting.” “And because we couldn’t see the troubles,” Huck agreed. “Maybe we didn’t want to see them. When you’re young, there’s always someone else to deal with the problems.” Tress nodded. Beyond that, memories have a way of changing on us. Souring or sweetening over time—like a brew we drink, then recreate later by taste, only getting the ingredients mostly right. You can’t taste a memory without tainting it with who you have become.

Life and dreams are leaves of one and the same book. The systematic reading is real life, but when the actual reading hour (the day) has come to an end, and we have the period of recreation, we often continue idly to thumb over the leaves, and turn to a page here and there without method or connexion. We sometimes turn up a page we have already read, at others one still unknown to us, but always from the same book. Such an isolated page is, of course, not connected with a consistent reading and study of the book, yet it is not so very inferior thereto, if we note that the whole of the consistent perusal begins and ends also on the spur of the moment, and can therefore be regarded merely as a larger single page.

He is all my art to me now," said the painter gravely. "I sometimes think, Harry, that there are only two eras of any importance in the world's history. The first is the appearance of a new medium for art, and the second is the appearance of a new personality for art also. What the invention of oil-painting was to the Venetians, the face of Antinous was to late Greek sculpture, and the face of Dorian Gray will some day be to me. It is not merely that I paint from him, draw from him, sketch from him. Of course, I have done all that. But he is much more to me than a model or a sitter. I won't tell you that I am dissatisfied with what I have done of him, or that his beauty is such that art cannot express it. There is nothing that art cannot express, and I know that the work I have done, since I met Dorian Gray, is good work, is the best work of my life. But in some curious way—I wonder will you understand me?—his personality has suggested to me an entirely new manner in art, an entirely new mode of style. I see things differently, I think of them differently. I can now recreate life in a way that was hidden from me before. 'A dream of form in days of thought'—who is it who says that? I forget; but it is what Dorian Gray has been to me. The merely visible presence of this lad—for he seems to me little more than a lad, though he is really over twenty— his merely visible presence—ah! I wonder can you realize all that that means? Unconsciously he defines for me the lines of a fresh school, a school that is to have in it all the passion of the romantic spirit, all the perfection of the spirit that is Greek. The harmony of soul and body— how much that is! We in our madness have separated the two, and have invented a realism that is vulgar, an ideality that is void. Harry! if you only knew what Dorian Gray is to me! You remember that landscape of mine, for which Agnew offered me such a huge price but which I would not part with? It is one of the best things I have ever done. And why is it so? Because, while I was painting it, Dorian Gray sat beside me. Some subtle influence passed from him to me, and for the first time in my life I saw in the plain woodland the wonder I had always looked for and always missed.

The problem with me is that I cannot focus when she is on my mind. I can’t. I probably will make a mistake when writing that paper and will start writing everything I feel about her—the professor will be very happy with that, I am sure. Oh well, such is my life. I guess I’ve been attempting my best to forget her for several weeks now. But even in that act of forgetting her, I am remembering her. I am recollecting her and recreating her in my mind. And that’s where everything falls apart. In remembering her, I remember her goodness. In remembering her, I remember her weaknesses and my own. In remembering her, I am remembering myself. Out of that dark cave of mine, I call myself out. And then all of the remembering starts again. I doodle, I twitch, I aim restlessly for some unseen goal. And then my thoughts drift to you. I’ll let them stay there for now. Just for a minute. Or two.

1.There are no rules, because life is made up of too many rules as it is 2.But there are three "guidelines" (which sounds less rigid than "rules"): a)No using our phones to get us there. We have to do this strictly old-school, which means learning to read actual maps b)We alternate choosing places to go, but we also have to be willing to go where the road takes us. This means the grand, the small, the bizarre, the poetic, the beautiful, the ugly, the surprising. Just like life. But absolutely, unconditionally, resolutely nothing ordinary. c)At each site, we leave something almost like an offering. It can be our own private game of geocaching( "the recreational activity of hunting for and finding a hidden object by means of GPS coordinates posted on a website"), only not a game, and just for us. The rules of geocaching say "takes something, leave something." The way I figure it, we stand to get something out of each place, so why not give something back? Also, it's a way to prove we've been there, and a way to leave a part of us behind.

When we recognize that, just like the glass, our body is already broken, that indeed we are already dead, then life becomes precious, and we open to it just as it is, in the moment it is occurring. When we understand that all our loved ones are already dead — our children, our mates, our friends — how precious they become. How little fear can interpose; how little doubt can estrange us. When you live your life as though you're already dead, life takes on new meaning. Each moment becomes a whole lifetime, a universe unto itself. When we realize we are already dead, our priorities change, our heart opens, and our mind begins to clear of the fog of old holdings and pretendings. We watch all life in transit, and what matters becomes instantly apparent: the transmission of love; the letting go of obstacles to understanding; the relinquishment of our grasping, of our hiding from ourselves. Seeing the mercilessness of our self-strangulation, we begin to come gently into the light we share with all beings. If we take each teaching, each loss, each gain, each fear, each joy as it arises and experience it fully, life becomes workable. We are no longer a "victim of life." And then every experience, even the loss of our dearest one, becomes another opportunity for awakening. If our only spiritual practice were to live as though we were already dead, relating to all we meet, to all we do, as though it were our final moments in the world, what time would there be for old games or falsehoods or posturing? If we lived our life as though we were already dead, as though our children were already dead, how much time would there be for self-protection and the re-creation of ancient mirages? Only love would be appropriate, only the truth.

When we strike a balance between the challenge of an activity and our skill at performing it, when the rhythm of the work itself feels in sync with our pulse, when we know that what we're doing matters, we can get totally absorbed in our task. That is happiness. The life coach Martha Beck asks new potential clients, "Is there anything you do regularly that makes you forget what time it is?" That forgetting -- that pure absorption -- is what the psychologist Mihaly Csikzentmihalyi calls "flow" or optimal experience. In an interview with Wired magazine, he described flow as "being completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement and thought follows inevitably from the previous one, like playing jazz. Your whole being is involved, and you're using your skills to the utmost." In a typical day that teeters between anxiety and boredom, flow experiences are those flashes of intense living -- bright against the dull. These optimal experiences can happen when we're engaged in work paid and unpaid, in sports, in music, in art. The researchers Maria Allison and Margaret Duncan have studied the role of flow in women's lives and looked at factors that contributed to what they call "antiflow." Antiflow was associated with repetitive household tasks, repetitive tasks at work, unchallenging tasks, and work we see as meaningless. But there's an element of chaos when it comes to flow. Even if we're doing meaningful and challenging work, that sense of total absoprtion can elude us. We might get completely and beautifully lost in something today, and, try as we might to re-create the same conditions tomorrow, our task might jsut feel like, well, work. In A Life of One's Own, Marion Milner described her effort to re-create teh conditions of her own recorded moments of happiness, saying, "Often when I felt certain that I had discovered the little mental act which produced the change I walked on air, exulting that I had found the key to my garden of delight and could slip through the door whenever I wished. But most often when I came again the place seemed different, the door overgrown with thorns and my key stuck in the lock. It was as if the first time I had said 'abracadabra' the door had opened, but the next time I must use a different word. (123-124).

While in principle groups for survivors are a good idea, in practice it soon becomes apparent that to organize a successful group is no simple matter. Groups that start out with hope and promise can dissolve acrimoniously, causing pain and disappointment to all involved. The destructive potential of groups is equal to their therapeutic promise. The role of the group leader carries with it a risk of the irresponsible exercise of authority. Conflicts that erupt among group members can all too easily re-create the dynamics of the traumatic event, with group members assuming the roles of perpetrator, accomplice, bystander, victim, and rescuer. Such conflicts can be hurtful to individual participants and can lead to the group’s demise. In order to be successful, a group must have a clear and focused understanding of its therapeutic task and a structure that protects all participants adequately against the dangers of traumatic reenactment. Though groups may vary widely in composition and structure, these basic conditions must be fulfilled without exception. Commonality with other people carries with it all the meanings of the word common. It means belonging to a society, having a public role, being part of that which is universal. It means having a feeling of familiarity, of being known, of communion. It means taking part in the customary, the commonplace, the ordinary, and the everyday. It also carries with it a feeling of smallness, or insignificance, a sense that one’s own troubles are ‘as a drop of rain in the sea.’ The survivor who has achieved commonality with others can rest from her labors. Her recovery is accomplished; all that remains before her is her life.

A common and traditionally masculine marital problem is created by the husband who, once he is married, devotes all his energies to climbing mountains and none to tending to his marriage, or base camp, expecting it to be there in perfect order whenever he chooses to return to it for rest and recreation without his assuming any responsibility for its maintenance. Sooner or later this “capitalist” approach to the problem fails and he returns to find his untended base camp a shambles, his neglected wife having been hospitalized for a nervous breakdown, having run off with another man, or in some other way having renounced her job as camp caretaker. An equally common and traditionally feminine marital problem is created by the wife who, once she is married, feels that the goal of her life has been achieved. To her the base camp is the peak. She cannot understand or empathize with her husband’s need for achievements and experiences beyond the marriage and reacts to them with jealousy and never-ending demands that he devote increasingly more energy to the home. Like other “communist” resolutions of the problem, this one creates a relationship that is suffocating and stultifying, from which the husband, feeling trapped and limited, may likely flee in a moment of “mid-life crisis.” The women’s liberation movement has been helpful in pointing the way to what is obviously the only ideal resolution: marriage as a truly cooperative institution, requiring great mutual contributions and care, time and energy, but existing for the primary purpose of nurturing each of the participants for individual journeys toward his or her own individual peaks of spiritual growth. Male and female both must tend the hearth and both must venture forth. As an adolescent I used to thrill to the words of love the early American poet Ann Bradstreet spoke to her husband: “If ever two were one, then we.”20 As I have grown, however, I have come to realize that it is the separateness of the partners that enriches the union. Great marriages cannot be constructed by individuals

A book is good company. It is full of conversation without loquacity. It comes to your longing with full instruction, but pursues you never. It is not offended at your absent-mindedness, nor jealous if you turn to other pleasures, of leaf, or dress, or mineral, or even of books. It silently serves the soul without recompense, not even for the hire of love. And yet more noble, it seems to pass from itself, and to enter the memory, and to hover in a silvery transfiguration there, until the outward book is but a body, and its soul and spirit are flown to you, and possess your memory like a spirit. And while some books, like steps, are left behind us by the very help which they yield us, and serve only our childhood, or early life, some others go with us in mute fidelity to the end of life, a recreation for fatigue, an instruction for our sober hours, and a solace for our sickness or sorrow. Except the great out-doors, nothing that has no life of its own gives so much life to you.

God sends his Son – here lies the only remedy. It is not enough to give man a new philosophy or better religion. A Man comes to men. Every man bears an image. His body and his life become visible. A man is not a bare word, a thought or a will. He is above all and always a man, a form, an image, a brother. And thus he does not create around him just a new way of thought, will and action but he gives us the new image, the new form. Now in Jesus Christ this is just what has happened. The image of God has entered our midst, in the form of our fallen life, in the likeness of sinful flesh. In the teaching and acts of Christ, in his life and death, the image of God is revealed. In him the divine image has been re-created here on earth. The Incarnation, the words and acts of Jesus, his death on the cross, all are indispensable parts of that image. But it is not the same image as Adam bore in the primal glory of paradise. Rather, it is the image of one who enters a world of sin and death, who takes upon himself all the sorrows of humanity, who meekly bears God’s wrath and judgment against sinners, and obeys his will with unswerving devotion in suffering and death, the Man born to poverty, the friend of publicans and sinners, the Man of sorrows, rejected of man and forsaken of God. Here is God made man, here is man in the new image of God.

Rearview Mirror Syndrome One of the most crippling causes of mediocrity in life is a condition I call Rearview Mirror Syndrome (RMS). Our subconscious minds are equipped with a self-limiting rearview mirror, through which we continuously relive and recreate our past. We mistakenly believe that who we were is who we are, thus limiting our true potential in the present, based on the limitations of our past.   As a result, we filter every choice we make—from what time we will wake up in the morning to which goals we will set to what we allow ourselves to consider possible for our lives—through the limitations of our past experiences. We want to create a better life, but sometimes we don’t know how to see it any other way than how it’s always been.   Research shows that on any given day, the average person thinks somewhere between 50,000 and 60,000 thoughts. The problem is that ninety-five percent of our thoughts are the same as the ones we thought the day before, and the day before that, and the day before that. It’s no wonder most people go through life, day after day, month after month, year after year, and never change the quality of their lives.   Like old, worn baggage, we carry stress, fear, and worry from yesterday with us into today. When presented with opportunities, we quickly check our rearview mirror to assess our past capabilities. “No, I’ve never done anything like that before. I’ve never achieved at that level. In fact, I’ve failed, time and time again.”   When presented with adversity, we go back to our trusty rearview mirror for guidance on how to respond. “Yep, just my luck. This crap always happens to me. I’m just going to give up; that’s what I’ve always done when things get too difficult.”   If you are to move beyond your past and transcend your limitations, you must stop living out of your rearview mirror and start imagining a life of limitless possibilities. Accept the paradigm:  my past does not equal my future. Talk to yourself in a way that inspires confidence that not only is anything possible, but that you are capable and committed to making it so. It’s not even necessary to believe it at first. In fact, you probably won’t believe it. You might find it uncomfortable and that you resist doing it. That’s okay. Repeat it to yourself anyway, and your subconscious mind will begin to absorb the positive self-affirmations. (More on how to do this in Chapter 6:  The Life S.A.V.E.R.S.)   Don’t place unnecessary limitations on what you want for your life. Think bigger than you’ve allowed yourself to think up until this point. Get clear on what you truly want, condition yourself to the belief that it’s possible by focusing on and affirming it every day, and then consistently move in the direction of your vision until it becomes your reality. There is nothing to fear, because you cannot fail—only learn, grow, and become better than you’ve ever been before.   Always remember that where you are is a result of who you were, but where you go depends entirely on who you choose to be, from this moment on.

Darkness seems to have prevailed and has taken the forefront. This country as in the 'cooperation' of The United States of America has never been about the true higher-good of the people. Know and remember this. Cling to your faith. Roll your spiritual sleeves up and get to work. Use your energy wisely. Transmute all anger, panic and fear into light and empowerment. Don't use what fuels them; all lower-energy. Mourn as you need to. Console who you need to—and then go get into the spiritual and energetic arena. There's plenty work for us to do; within and without. Let's each focus on becoming 'The President of Our Own Life. Cultivate your mind. Pursue your purpose. Shine your light. Elevate past—and reject—any culture of low vibrational energy and ratchetness. Don't take fear, defeat or anger—on or in. The system is doing what they've been created to do. Are you? Am I? Are we—collectively? Let's get to work. No more drifting through life without your higher-self in complete control of your mind. Awaken—fully. Activate—now. Put your frustrations or concerns into your work. Don't lose sight. There is still—a higher plan. Let's ride this 4 year energetic-wave like the spiritual gangsters that we are. This will all be the past soon. Let's get to work and stay dedicated, consistent and diligent. Again, this will all be the past soon. We have preparing and work to do. Toxic energy is so not a game. Toxic energy and low vibrations are being collectively acted out on the world stage. Covertly operating through the unconscious weak spots and blind spots in the human psyche; making people oblivious to their own madness, causing and influencing them to act against–their–own–best–interests and higher-good, as if under a spell and unconsciously possessed. This means that they are actually nourishing the lower vibrational energy with their lifestyle, choices, energy and habits, which is unconsciously giving the lower-energy the very power and fuel it needs—for repeating and recreating endless drama, suffering and destruction, in more and more amplified forms on a national and world stage. So what do we do? We take away its autonomy and power over us while at the same time empowering ourselves. By recognizing how this energetic/spiritual virus or parasite of the mind—operates through our unawareness is the beginning of the cure. Knowledge is power. Applied knowledge is—freedom. Our shared future will be decided primarily by the changes that take place in the psyche of humanity, starting with each of us— vibrationally. In closing and most importantly, the greatest protection against becoming affected or possessed by this lower-energy is to be in touch with our higher vibrational-self. We have to call our energy and power back. Being in touch with our higher-self and true nature acts as a sacred amulet, shielding and protecting us from the attempted effects. We defeat evil not by fighting against it (in which case, by playing its game, we’ve already lost) but by getting in touch with the part of us that is invulnerable to its effects— our higher vibrational-self. Will this defeat and destroy us? Or will it awaken us more and more? Everything depends upon our recognizing what is being revealed to us and our stepping out of the unconscious influence of low vibrational/negative/toxic/evil/distraction energy (or whatever name you relate to it as) that is and has been seeking power over each of our lives energetically and/or spiritually, and step into our wholeness, our personal power, our higher self and vibrate higher and higher daily. Stay woke my friends—let's get to work.

The Heiligenstadt Testament" Oh! ye who think or declare me to be hostile, morose, and misanthropical, how unjust you are, and how little you know the secret cause of what appears thus to you! My heart and mind were ever from childhood prone to the most tender feelings of affection, and I was always disposed to accomplish something great. But you must remember that six years ago I was attacked by an incurable malady, aggravated by unskillful physicians, deluded from year to year, too, by the hope of relief, and at length forced to the conviction of a lasting affliction (the cure of which may go on for years, and perhaps after all prove impracticable). Born with a passionate and excitable temperament, keenly susceptible to the pleasures of society, I was yet obliged early in life to isolate myself, and to pass my existence in solitude. If I at any time resolved to surmount all this, oh! how cruelly was I again repelled by the experience, sadder than ever, of my defective hearing! — and yet I found it impossible to say to others: Speak louder; shout! for I am deaf! Alas! how could I proclaim the deficiency of a sense which ought to have been more perfect with me than with other men, — a sense which I once possessed in the highest perfection, to an extent, indeed, that few of my profession ever enjoyed! Alas, I cannot do this! Forgive me therefore when you see me withdraw from you with whom I would so gladly mingle. My misfortune is doubly severe from causing me to be misunderstood. No longer can I enjoy recreation in social intercourse, refined conversation, or mutual outpourings of thought. Completely isolated, I only enter society when compelled to do so. I must live like art exile. In company I am assailed by the most painful apprehensions, from the dread of being exposed to the risk of my condition being observed. It was the same during the last six months I spent in the country. My intelligent physician recommended me to spare my hearing as much as possible, which was quite in accordance with my present disposition, though sometimes, tempted by my natural inclination for society, I allowed myself to be beguiled into it. But what humiliation when any one beside me heard a flute in the far distance, while I heard nothing, or when others heard a shepherd singing, and I still heard nothing! Such things brought me to the verge of desperation, and well-nigh caused me to put an end to my life. Art! art alone deterred me. Ah! how could I possibly quit the world before bringing forth all that I felt it was my vocation to produce? And thus I spared this miserable life — so utterly miserable that any sudden change may reduce me at any moment from my best condition into the worst. It is decreed that I must now choose Patience for my guide! This I have done. I hope the resolve will not fail me, steadfastly to persevere till it may please the inexorable Fates to cut the thread of my life. Perhaps I may get better, perhaps not. I am prepared for either. Constrained to become a philosopher in my twenty-eighth year! This is no slight trial, and more severe on an artist than on any one else. God looks into my heart, He searches it, and knows that love for man and feelings of benevolence have their abode there! Oh! ye who may one day read this, think that you have done me injustice, and let any one similarly afflicted be consoled, by finding one like himself, who, in defiance of all the obstacles of Nature, has done all in his power to be included in the ranks of estimable artists and men. My brothers Carl and [Johann], as soon as I am no more, if Professor Schmidt be still alive, beg him in my name to describe my malady, and to add these pages to the analysis of my disease, that at least, so far as possible, the world may be reconciled to me after my death. I also hereby declare you both heirs of my small fortune (if so it may be called). Share it fairly, agree together and assist each other. You know that any

In the stillest hour of the night, as I lay half asleep, my seven selves sat together and thus conversed in whispers: First Self: Here, in this madman, I have dwelt all these years, with naught to do but renew his pain by day and recreate his sorrow by night. I can bear my fate no longer, and now I rebel. Second Self: Yours is a better lot than mine, brother, for it is given to me to be this madman's joyous self. I laugh his laughter and sing his happy hours, and with thrice winged feet I dance his brighter thoughts. It is I that would rebel against my weary existence. Third Self: And what of me, the love-ridden self, the flaming brand of wild passion and fantastic desires? It is I the love-sick self who would rebel against this madman. Fourth Self: I, amongst you all, am the most miserable, for naught was given me but odious hatred and destructive loathing. It is I, the tempest-like self, the one born in the black caves of Hell, who would protest against serving this madman. Fifth Self: Nay, it is I, the thinking self, the fanciful self, the self of hunger and thirst, the one doomed to wander without rest in search of unknown things and things not yet created; it is I, not you, who would rebel. Sixth Self: And I, the working self, the pitiful labourer, who, with patient hands, and longing eyes, fashion the days into images and give the formless elements new and eternal forms- it is I, the solitary one, who would rebel against this restless madman. Seventh Self: How strange that you all would rebel against this man, because each and every one of you has a preordained fate to fulfil. Ah! could I but be like one of you, a self with a determined lot! But I have none, I am the do-nothing self, the one who sits in the dumb, empty nowhere and nowhen, while you are busy re-creating life. Is it you or I, neighbours, who should rebel? When the seventh self thus spake the other six selves looked with pity upon him but said nothing more; and as the night grew deeper one after the other went to sleep enfolded with a new and happy submission. But the seventh self remained watching and gazing at nothingness, which is behind all things.

When I’m given a role, the first thing I do is read the play over and over again. I scour the script and write down everything the character says about himself and everything that everyone else says about him. I immerse myself in my character and imagine what it might be like to be that person. When I played Cassio in Othello I imagined what it would be like to be a lieutenant in the Venetian navy in 1604. I sat down with Ewan McGregor and Chiwetel Ejiofor and together we decided that Othello, Iago and Cassio had soldiery in their bones. I took from the script that Cassio was talented and ambitious, with no emotional or physical guard - and that’s how I played the part. For me, acting is about recreating the circumstances that would make me feel how my character is feeling. In the dressing room, I practise recreating those circumstances in my head and I try to not get in the way of myself. For example, in act two of Othello, when Cassio is manipulated to fight Roderigo and loses his rank, some nights I would burst into tears; other nights I wouldn’t but I would still feel the same emotion, night after night. Just as in life, the way we respond to catastrophe or death will be different every time because the process is unconscious. By comparison, in Chekhov’s Ivanov I played the young doctor, Lvov. Lvov was described as “a prig and a bigot … uprightness in boots … tiresome … completely sincere”. His emotions were locked away. I worked around the key phrase: “Forgive me, I’m going to tell you plainly.” I practised speaking gravely and sincerely without emotion and I actually noticed how that carried over into my personal life: when I played the open-hearted Cassio, I felt really free; when I played the pent-up Lvov, I felt a real need to release myself from the shackles of that character. It’s exhilarating to act out the emotions of a character - it’s a bit like being a child again. You flex the same muscles that you did when you pretended to be a cowboy or a policeman: acting is a grown-up version of that with more subtlety and detail. You’re responding with real emotions to imaginary situations. When I’m in a production I never have a day when I haven’t laughed, cried or screamed. There are times when I wake up stiff from emotional exhaustion. Film is a much more intimate and thoughtful medium than theatre because of the proximity of the camera. The camera can read your thoughts. On stage, if you have a moment of vulnerability you can hide it from the other actors; on film, the camera will see you feel that emotion and try to suppress it. Similarly, if you’re pretending to feel something that isn’t there, it won’t be believable.

I can understand the ignorant masses loving to soak themselves in drink—oh, yes, it's very shocking that they should, of course—very shocking to us who live in cozy homes, with all the graces and pleasures of life around us, that the dwellers in damp cellars and windy attics should creep from their dens of misery into the warmth and glare of the public-house bar, and seek to float for a brief space away from their dull world upon a Lethe stream of gin. But think, before you hold up your hands in horror at their ill-living, what "life" for these wretched creatures really means. Picture the squalid misery of their brutish existence, dragged on from year to year in the narrow, noisome room where, huddled like vermin in sewers, they welter, and sicken, and sleep; where dirt-grimed children scream and fight and sluttish, shrill-voiced women cuff, and curse, and nag; where the street outside teems with roaring filth and the house around is a bedlam of riot and stench. Think what a sapless stick this fair flower of life must be to them, devoid of mind and soul. The horse in his stall scents the sweet hay and munches the ripe corn contentedly. The watch-dog in his kennel blinks at the grateful sun, dreams of a glorious chase over the dewy fields, and wakes with a yelp of gladness to greet a caressing hand. But the clod-like life of these human logs never knows one ray of light. From the hour when they crawl from their comfortless bed to the hour when they lounge back into it again they never live one moment of real life. Recreation, amusement, companionship, they know not the meaning of. Joy, sorrow, laughter, tears, love, friendship, longing, despair, are idle words to them. From the day when their baby eyes first look out upon their sordid world to the day when, with an oath, they close them forever and their bones are shoveled out of sight, they never warm to one touch of human sympathy, never thrill to a single thought, never start to a single hope. In the name of the God of mercy; let them pour the maddening liquor down their throats and feel for one brief moment that they live!

What Kant took to be the necessary schemata of reality,' says a modern Freudian, 'are really only the necessary schemata of repression.' And an experimental psychologist adds that 'a sense of time can only exist where there is submission to reality.' To see everything as out of mere succession is to behave like a man drugged or insane. Literature and history, as we know them, are not like that; they must submit, be repressed. It is characteristic of the stage we are now at, I think, that the question of how far this submission ought to go--or, to put it the other way, how far one may cultivate fictional patterns or paradigms--is one which is debated, under various forms, by existentialist philosophers, by novelists and anti-novelists, by all who condemn the myths of historiography. It is a debate of fundamental interest, I think, and I shall discuss it in my fifth talk. Certainly, it seems, there must, even when we have achieved a modern degree of clerical scepticism, be some submission to the fictive patterns. For one thing, a systematic submission of this kind is almost another way of describing what we call 'form.' 'An inter-connexion of parts all mutually implied'; a duration (rather than a space) organizing the moment in terms of the end, giving meaning to the interval between tick and tock because we humanly do not want it to be an indeterminate interval between the tick of birth and the tock of death. That is a way of speaking in temporal terms of literary form. One thinks again of the Bible: of a beginning and an end (denied by the physicist Aristotle to the world) but humanly acceptable (and allowed by him to plots). Revelation, which epitomizes the Bible, puts our fate into a book, and calls it the book of life, which is the holy city. Revelation answers the command, 'write the things which thou hast seen, and the things which are, and the things which shall be hereafter'--'what is past and passing and to come'--and the command to make these things interdependent. Our novels do likewise. Biology and cultural adaptation require it; the End is a fact of life and a fact of the imagination, working out from the middle, the human crisis. As the theologians say, we 'live from the End,' even if the world should be endless. We need ends and kairoi and the pleroma, even now when the history of the world has so terribly and so untidily expanded its endless successiveness. We re-create the horizons we have abolished, the structures that have collapsed; and we do so in terms of the old patterns, adapting them to our new worlds. Ends, for example, become a matter of images, figures for what does not exist except humanly. Our stories must recognize mere successiveness but not be merely successive; Ulysses, for example, may be said to unite the irreducible chronos of Dublin with the irreducible kairoi of Homer. In the middest, we look for a fullness of time, for beginning, middle, and end in concord. For concord or consonance really is the root of the matter, even in a world which thinks it can only be a fiction. The theologians revive typology, and are followed by the literary critics. We seek to repeat the performance of the New Testament, a book which rewrites and requites another book and achieves harmony with it rather than questioning its truth. One of the seminal remarks of modern literary thought was Eliot's observation that in the timeless order of literature this process is continued. Thus we secularize the principle which recurs from the New Testament through Alexandrian allegory and Renaissance Neo-Platonism to our own time. We achieve our secular concords of past and present and future, modifying the past and allowing for the future without falsifying our own moment of crisis. We need, and provide, fictions of concord.

While some of our deepest wounds come from feeling abandoned by others, it is surprising to see how often we abandon ourselves through the way we view life. It’s natural to perceive through a lens of blame at the moment of emotional impact, but each stage of surrender offers us time and space to regroup and open our viewpoints for our highest evolutionary benefit. It’s okay to feel wronged by people or traumatized by circumstances. This reveals anger as a faithful guardian reminding us how overwhelmed we are by the outcomes at hand. While we will inevitably use each trauma as a catalyst for our deepest growth, such anger informs us when the highest importance is being attentive to our own experiences like a faithful companion. As waves of emotion begin to settle, we may ask ourselves, “Although I feel wronged, what am I going to do about it?” Will we allow experiences of disappointment or even cruelty to inspire our most courageous decisions and willingness to evolve? When viewing others as characters who have wronged us, a moment of personal abandonment occurs. Instead of remaining present to the sheer devastation we feel, a need to align with ego can occur through the blaming of others. While it seems nearly instinctive to see life as the comings and goings of how people treat us, when focused on cultivating our most Divine qualities, pain often confirms how quickly we are shifting from ego to soul. From the soul’s perspective, pain represents the initial steps out of the identity and reference points of an old reality as we make our way into a brand new paradigm of being. The more this process is attempted to be rushed, the more insufferable it becomes. To end the agony of personal abandonment, we enter the first stage of surrender by asking the following question: Am I seeing this moment in a way that helps or hurts me? From the standpoint of ego, life is a play of me versus you or us versus them. But from the soul’s perspective, characters are like instruments that help develop and uncover the melody of our highest vibration. Even when the friction of conflict seems to divide people, as souls we are working together to play out the exact roles to clear, activate, and awaken our true radiance. The more aligned in Source energy we become, the easier each moment of transformation tends to feel. This doesn’t mean we are immune to disappointment, heartbreak, or devastation. Instead, we are keenly aware of how often life is giving us the chance to grow and expand. A willingness to be stretched and re-created into a more refined form is a testament to the fiercely liberated nature of our soul. To the ego, the soul’s willingness to grow under the threat of any circumstance seems foolish, shortsighted, and insane. This is because the ego can only interpret that reality as worry, anticipation, and regret.