Stir Emotions Quotes

A mature person is one who does not think only in absolutes, who is able to be objective even when deeply stirred emotionally, who has learned that there is both good and bad in all people and in all things, and who walks humbly and deals charitably with the circumstances of life, knowing that in this world no one is all knowing and therefore all of us need both love and charity.

Actors are by nature volatile—alchemic creatures composed of incendiary elements, emotion and ego and envy. Heat them up, stir them together, and sometimes you get gold. Sometimes disaster.

Even when I try to stir myself up, I just get irritated because I can't make anything come out. And in the middle of the night I lie here thinking about all this. If I don't get back on track somehow, I'm dead, that's the sense I get. There isn't a single strong emotion inside me.

The sea is everything. It covers seven tenths of the terrestrial globe. Its breath is pure and healthy. It is an immense desert, where man is never lonely, for he feels life stirring on all sides. The sea is only the embodiment of a supernatural and wonderful existence. It is nothing but love and emotion; it is the Living Infinite.

It is important not to suppress your feelings altogether when you are depressed. It is equally important to avoid terrible arguments or expressions of outrage. You should steer clear of emotionally damaging behavior. People forgive, but it is best not to stir things up to the point at which forgiveness is required. When you are depressed, you need the love of other people, and yet depression fosters actions that destroy that love. Depressed people often stick pins into their own life rafts. The conscious mind can intervene. One is not helpless.

When someone stirs a world of emotion in you and it’s so intense you can barely stand to be with him.

Writers create impressions that inspire, stir emotions, evoke questions and sprinkle seeds of awe.

It is not a shame to be rocked on the waves of our dreams sometime, and roam around in our memories, stirring new emotions. Memories can be a balm for demolished expectations or disfigured reality.( "Knowing someone is waiting for us" )

It is the mind which creates the world around us, and even though we stand side by side in the same meadow, my eyes will never see what is beheld by yours, my heart will never stir to the emotions with which yours is touched.

Nonsense can be an ingenious architect of sense, as it may turn things upside down and, so doing, sharpen our perception, stir our imagination, clear our mind and refine our judgment. Like poetry might interlock with science, and emotion with intellect, so are sense and nonsense relentlessly interacting and this interplay enriches the filigree of our thinking pattern. (“Drunken ship” )

To ignore, repress, or dismiss our feelings is to fail to listen to the stirrings of the Spirit within our emotional life. Jesus listened. In John's Gospel we are told that Jesus was moved with the deepest emotions (11:33)... The gospel portrait of the beloved Child of Abba is that of a man exquisitely attuned to His emotions and uninhibited in expressing them. The Son of Man did not scorn of reject feelings as fickle and unreliable. They were sensitive antennae to which He listened carefully and through which He perceived the will of His Father for congruent speech and action.

Why do people so often keep on speaking without ever saying anything? Words so often disappear furtively, as if they had never existed. They don’t stir any strings in our minds or thrill our emotions. They leave no trace in our memory and vanish simply like birds in the airy void of the sky. ("Words flew away like birds" )

The emotions of man are stirred more quickly than man’s intelligence.

An (emotional) vampire goes in for the kill by stirring up your emotions. Pushing your buttons throws you off center, which renders you easier to drain. Of all the emotional types, empaths are often the most devestated.

Human beings have a demonstrated talent for self-deception when their emotions are stirred.

All great movements are popular movements. They are the volcanic eruptions of human passions and emotions, stirred into activity by the ruthless Goddess of Distress or by the torch of the spoken word cast into the midst of the people.

Music and books stir up emotions. They make feelings rise and clatter and wreck, and sometimes that's dangerous. But music can make you rise up and clatter and destroy when you need to, too.

We move in response to our conversation partner’s face, and our brain also fires as we move those muscles and stirs the passions. Paralyzing the face is idiotic.

He watched it with that strange interest in trivial things that we try to develop when things of high import make us afraid, or when we are stirred by some new emotion for which we cannot find expression...

I had my arms around his waist, smiling as I looked up at him. Being with Alex made me so completely happy, in an easy, uncomplicated way that I hadn't felt since I was a small child. "I love you," I said. In the five days we'd been there, it was the first time I'd said the words to him in English; they just slipped out. Alex's expression went very still as he looked down at me, his dark hair stirred by the slight breeze. I picked up a sudden wave of his emotions, and they almost brought tears to my eyes. Gently, he took my face in his hands and kissed me. "I love you, too," he said against my lips.

I reach out and take his hand. “Well, he probably used up a lot of resources helping me knock you out,” I say mischievously. “Yeah, about that,” says Peeta, entwining his fingers in mine. “Don’t try something like that again.” “Or what?” I ask. “Or . . . or . . .” He can’t think of anything good. “Just give me a minute.” “What’s the problem?” I say with a grin. “The problem is we’re both still alive. Which only reinforces the idea in your mind that you did the right thing,” says Peeta. “I did do the right thing,” I say. “No! Just don’t, Katniss!” His grip tightens, hurting my hand, and there’s real anger in his voice. “Don’t die for me. You won’t be doing me any favors. All right?” I’m startled by his intensity but recognize an excellent opportunity for getting food, so I try to keep up. “Maybe I did it for myself, Peeta, did you ever think of that? Maybe you aren’t the only one who . . . who worries about . . . what it would be like if. . .” I fumble. I’m not as smooth with words as Peeta. And while I was talking, the idea of actually losing Peeta hit me again and I realized how much I don’t want him to die. And it’s not about the sponsors. And it’s not about what will happen back home. And it’s not just that I don’t want to be alone. It’s him. I do not want to lose the boy with the bread. “If what, Katniss?” he says softly. I wish I could pull the shutters closed, blocking out this moment from the prying eyes of Panem. Even if it means losing food. Whatever I’m feeling, it’s no one’s business but mine. “That’s exactly the kind of topic Haymitch told me to steer clear of,” I say evasively, although Haymitch never said anything of the kind. In fact, he’s probably cursing me out right now for dropping the ball during such an emotionally charged moment. But Peeta somehow catches it. “Then I’ll just have to fill in the blanks myself,” he says, and moves in to me. This is the first kiss that we’re both fully aware of. Neither of us hobbled by sickness or pain or simply unconscious. Our lips neither burning with fever or icy cold. This is the first kiss where I actually feel stirring inside my chest. Warm and curious. This is the first kiss that makes me want another. But I don’t get it. Well, I do get a second kiss, but it’s just a light one on the tip of my nose because Peeta’s been distracted. “I think your wound is bleeding again. Come on, lie down, it’s bedtime anyway,” he says.

Perhaps there is more understanding and beauty in life when the glaring sunlight is softened by the patterns of shadows. Perhaps there is more depth in a relationship that has weathered some storms. Experience that never disappoints or saddens or stirs up feeling is a bland experience with little challenge or variation of color. Perhaps it's when we experience confidence and faith and hope that we see materialize before our eyes this builds up within us a feeling of inner strength, courage, and security. We are all personalities that grow and develop as a result of our experiences, relationships, thoughts, and emotions. We are the sum total of all the parts that go into the making of a life.

Great revelations of nature, of course, never fail to impress in one way or another, and I was no stranger to moods of the kind. Mountains overawe and oceans terrify, while the mystery of great forests exercises a spell peculiarly its own. But all these, at one point or another, somewhere link on intimately with human life and human experience. They stir comprehensible, even if alarming, emotions. They tend on the whole to exalt.

In the life of everyone there is a limited number of experiences which are not written upon the memory, but stamped there with a die; and in the long years after, they can be called up in detail, and every emotion that was stirred by them can be lived through anew; these are the tragedies of life.

She was a keen observer, a precise user of language, sharp-tongued and funny. She could stir your emotions. Yes, really, that's what she was so good at - stirring people's emotions, moving you. And she knew she had this power...I only realized later. At the time, I had no idea what she was doing to me.

The vehemence of emotion, stirred by grief and love within me, was claiming mastery, and struggling for full sway; and asserting a right to predominate: to overcome, to live, rise, and reign at last; yes,--and to speak.

Thoughts of You There were times when I was with him and it was too much. Does that make sense? When someone stirs a world of emotion in you and it's so intense you can barely stand to be with him. During those moments, I wanted so desperately to leave - to go home, walk into my bedroom, and shut the door behind me. Crawl into bed and lay there in the dark, tracing the outline of my lips with my fingers - replaying everything he said, everything we did. I wanted to be left alone - with nothing other than my thought of him.

Art must always stand guard against stirring emotions that lie outside the aesthetic: sexual arousal, terror, disgust, shock.

At such moments something resembling happiness actually stirs in your chest, but it isn’t the sort of emotion you want to lean on very hard.

Now I know without a shadow of doubt that you can't chase away those images, let alone the visible holes that burrow deep down inside. You can't chase away the reverberations or the memories that stir as night falls or in the early hours. You can't chase away echoing screams, still less echoing silence

The emotions of man are stirred more quickly than man's intelligence...it is much more easy to have sympathy with suffering than it is to have sympathy with thought.

Dive deeply into the miracle of life and let the tips of your wings be burnt by the flame, let your feet be lacerated by the thorns, let your heart be stirred by human emotion, and let your soul be lifted beyond the earth.

Essentally combat is an expression of hostile feelings. But in the large-scale combat that we call war hostile feelings often have become merely hostile intentions. At any rate, there are usually no hostile feelings between individuals. Yet such emotions can never be completely absent from war. Modern wars are seldom fought without hatred between nations; this serves as a more or less substitute for the hatred between individuals. Even when there is no natural hatred and no animosity to start with, the fighting itself will stir up hostile feelings: violence committed on superior orders will stir up the desire for revenge and retaliation against the perpetrator rather than against the powers that ordered the action. It is only human (or animal, if you like), but it is a fact.

A sentimentalist is one who delights to have high and devout emotions stirred whilst reading in an arm-chair, or in a prayer meeting, but he never translates his emotions into action. Consequently a sentimentalist is usually callous, self-centred and selfish, because the emotions he likes to have stirred do not cost him anything.

He watched it with that strange interest in trivial things that we try to develop when things of high import make us afraid, or when we are stirred by some new emotion for which we cannot find expression, or when some thought that terrifies us lays sudden siege to the brain and calls on us to yield.

Perhaps you are not trying to whip a crowd into a frenzy; you just want to bring people over to your side. Choose your strategy and words carefully. You might think it is better to reason with people, explain your ideas. But it is hard for an audience to decide whether an argument is reasonable as they listen to you talk. They have to concentrate and listen closely, which requires great effort. People are easily distracted by other stimuli, and if they miss a part of your argument, they will feel confused, intellectually inferior, and vaguely insecure. It is more persuasive to appeal to people’s hearts than their heads. Everyone shares emotions, and no one feels inferior to a speaker who stirs up their feelings. The crowd bonds together, everyone contagiously experiencing the same emotions.

Always try to come back to your senses when in love, because that's the moment you become almost carried away by sensuality and sentiments.

I see no need in taking part in forced adolescent social rituals that would do nothing but stir up emotions of dread for all involved.

Take a pinch of belief in God, add a dash of desire to experience God, stir in emotion to taste, and you have a recipe for religious experience.

We can all take pictures but not everyone can capture the beauty that's usually hidden in plain view... We can all open our mouth to sing but not everyone can melodically touch your soul... We can all pick up a pen to write but not everyone can write words in such a way that they leap off of the page for you... We can all part our lips to speak but not everyone can speak life into you... We can all move our bodies to a beat but not everyone can become one with music, stir emotions and shift energy with dance... Point is: WE CAN all do something but Know your gifts, cultivate them and ALWAYS, ALWAYS BE YOURSELF! Then working together becomes effortless. Copies aren't accepted everywhere...ORIGINALS are eventually required!

From the beginning I've searched out those writers unafraid to stir up the emotions, who entrust me with their darkest passions, their most indestructible yearnings, and their most soul-killing doubts. I trust the great novelists to teach me how to live, how to feel, how to love and hate. I trust them to show me the dangers I will encounter on the road as I stagger on my own troubled passage through the complicated life of books that try to teach me how to die.

We have to dive below to discover the basic problem: these couples have disconnected emotionally; they don’t feel emotionally safe with each other. What couples and therapists too often do not see is that most fights are really protests over emotional disconnection. Underneath all the distress, partners are asking each other: Can I count on you, depend on you? Are you there for me? Will you respond to me when I need, when I call? Do I matter to you? Am I valued and accepted by you? Do you need me, rely on me? The anger, the criticism, the demands, are really cries to their lovers, calls to stir their hearts, to draw their mates back in emotionally and reestablish a sense of safe connection.

Dorian Gray listened, open-eyed and wondering. The spray of lilac fell from his hand upon the gravel. A furry bee came and buzzed round it for a moment. Then it began to scramble all over the oval stellated globe of the tiny blossoms. He watched it with that strange interest in trivial things that we try to develop when things of high import make us afraid, or when we are stirred by some new emotion for which we cannot find expression, or when some though that terrifies us lays sudden siege to the brain and calls on us to yield.

Beauty ensnares hearts, captures minds, and stirs up emotional wildfires.

The ability to feel 'with' rather than 'for' is the essential difference between consciousness and emotion. When we feel for things we are emotionally moved. Pity, sympathy, and kindred feelings stir us, and yet they seldom give any definite impulse that is of value in the adjustment of any chain of circumstances. When we feel with things we are so much a part of them that we understand the innermost elements of their being. Thus understanding comes with consciousness, and knowledge with intellectual comprehension. According to the ancient doctrines, perfect consciousness — the ability to feel with everything as part of everything — was regarded as the ultimate state of so-called human unfoldment, and he who had achieved this had attained to godhood in his own right. The gods are simply emblematic of varying degrees of consciousness in that vast interval between ignorance and realization.

In the future, Martin will recall this night as the first time -- and one of the only times -- he ever saw Germans crying in public, not at the news of a dead loved one or at the sight of their bombed home, and not in physical pain, but from spontaneous emotion. For this brief time, they were not hiding from one another, wearing their masks of cold and practical detachment. The music stirred the hardened sediment of their memory, chafed against layers of horror and shame, and offered a rare solace in their shared anger, grief and guilt.

To sentimentalise something is to look only at the emotion in it and at the emotion it stirs in us rather than at the reality of it, which we are always tempted not to look at because reality, truth, silence are all what we are not much good at and avoid when we can. To sentimentalise something is to savour rather than to suffer the sadness of it, is to sigh over the prettiness of it rather than to tremble at the beauty of it, which may make fearsome demands of us or pose fearsome threats.

Words of kindness had always been more difficult for me to handle than harsh reprimands. Ever since I had been quite young, I could resist those who went against me, had been able to deny their opinions. My inner strength came from an ability to handle, then separate myself from, adversity. Compassion, however, brought up more raw emotion than judgments could ever stir.

In his savage, untutored breast new emotions were stirring. He could not fathom them. He wondered why he felt so great an interest in these people—why he had gone to such pains to save the three men. But he did not wonder why he had torn Sabor from the tender flesh of the strange girl. Surely the men were stupid and ridiculous and cowardly. Even Manu, the monkey, was more intelligent than they. If these were creatures of his own kind he was doubtful if his past pride in blood was warranted. But the girl, ah—that was a different matter. He did not reason here. He knew that she was created to be protected, and that he was created to protect her

Thorstein Veblen would say people hate squirrels, she called up to him, "because that's the only way to motivate expenditure on them - such as buying traps or guns. It's the same with stirring up patriotic emotionalism, because it justifies expenditures for defense.

Intellect is the light which illuminates its path, and without this light, emotion changes back and forth. In fact, if emotions prevail over the intellect, it is able to obscure the light and distort the picture of the entire world…. Emotional stirrings need the control of reason and the direction of the will.

Folding her arms and closing her eyes, Hatsumi sank back into the corner of the seat. Her small gold earrings caught the light as the taxi swayed. Her midnight blue dress seemed to have been made to match the darkness of the cab. Every now and then her thinly daubed, beautifully formed lips would quiver slightly as if she had caught herself on the verge of talking to herself. Watching her, I could see why Nagasawa had chosen her as his special companion. There were any number of women more beautiful than Hatsumi, and Nagasawa could have made any of them his. But Hatsumi had some quality that could send a tremor through your heart. It was nothing forceful. The power she exerted was a subtle thing, but it called forth deep resonances. I watched her all the way to Shibuya, and wondered, without ever finding an answer, what this emotional reverberation that I was feeling could be. It finally hit me some dozen or so years later. I had come to Santa Fe to interview a painter and was sitting in a local pizza parlor, drinking beer and eating pizza and watching a miraculously beautiful sunset. Everything was soaked in brilliant red—my hand, the plate, the table, the world—as if some special kind of fruit juice had splashed down on everything. In the midst of this overwhelming sunset, the image of Hatsumi flashed into my mind, and in that moment I understood what that tremor of the heart had been. It was a kind of childhood longing that had always remained—and would forever remain—unfulfilled. I had forgotten the existence of such innocent, all-but-seared-in longing: forgotten for years to remember what such feelings had ever existed inside of me. What Hatsumi had stirred in me was a part of my very self that had long lain dormant. And when the realization struck me, it aroused such sorrow I almost burst into tears. She had been an absolutely special woman. Someone should have done something—anything—to save her. But neither Nagasawa nor I could have managed that. As so many of those I knew had done, Hatsumi reached a certain stage in her life and decided—almost on the spur of the moment—to end it. Two years after Nagasawa left for Germany, she married, and two years after that she slashed her wrists with a razor blade. It was Nagasawa, of course, who told me what had happened. His letter from Bonn said this: “Hatsumi’s death has extinguished something. This is unbearably sad and painful, even to me.” I ripped his letter to shreds and threw it away. I never wrote to him again.

Am I mistaken to think that even back then, in the vivid present, the fullness of life stirred our emotions to an extraordinary extent? Has anywhere since so engrossed you in its ocean of details? The detail, the immensity of the detail, the force of the detail, the weight of the detailthe rich endlessness of detail surrounding you in your young life like the six feet of dirt that’ll be packed on your grave when you’re dead

Do not say, 'But it is hypocritical to thank God with my tongue when I don't feel thankful in my heart.' There is such a thing as hypocritical thanksgiving. Its aim is to conceal ingratitude and get the praise of men. That is not your aim. Your aim in loosing your tongue with words of gratitude is that God would be merciful and fill your words with the emotion of true gratitude. You are not seeking the praise of men; you are seeing the mercy of God. You are not hiding the hardness of ingratitude, but hoping for the in-breaking of the Spirit. Thanksgiving with the Mouth Stirs Up Thankfulness in the Heart Moreover, we should probably ask the despairing saint, 'Do you know your heart so well that you are sure the words of thanks have no trace of gratitude in them?' I, for one, distrust my own assessment of my motives. I doubt that I know my good ones well enough to see all the traces of contamination. And I doubt that I know my bad ones well enough to see the traces of grace. Therefore, it is not folly for a Christian to assume that there is a residue of gratitude in his heart when he speaks and sings of God's goodness even though he feels little or nothing. To this should be added that experience shows that doing the right thing, in the way I have described, is often the way toward being in the right frame. Hence Baxter gives this wise counsel to the oppressed Christian: 'Resolve to spend most of your time in thanksgiving and praising God. If you cannot do it with the joy that you should, yet do it as you can. You have not the power of your comforts; but have you no power of your tongues? Say not that you are unfit for thanks and praises unless you have a praising heart and were the children of God; for every man, good and bad, is bound to praise God, and to be thankful for all that he hath received, and to do it as well as he can, rather than leave it undone.... Doing it as you can is the way to be able to do it better. Thanksgiving stirreth up thankfulness in the heart.

These bullies must keep up the assault, the slander, the character assassinations, stirring up the emotions of the public to a fever pitch, acting like saviors when in actuality they are frauds, phony patriots and very evil men in disguise, wrapping themselves in the flag.

I kept scrabbling around in myself for this new indescribable emotion, like stirring a crowded silverware drawer for the potato peeler, but no matter how I rattled around, no matter what I moved out of the way, it wasn’t there. The potato peeler is always in the drawer after all. It’s under the spatula, it’s slipped into the fold of the food-processor guarantee -

The sea is everything. It covers seven tenths of the terrestrial globe. Its breath is pure and healthy. It is an immense desert, where man is never lonely, for he feels life stirring on all sides. The sea is only the embodiment of a supernatural and wonderful existence. It is nothing but love and emotion; it is the `Living Infinite,' as one of your poets has said.

My narcotic was what had got me through the war; it was an ability to let my emotions be stirred by only one thing - my love for Helga. This concentration of my emotions on so small an area had begun as a young lover's happy illusion, had developed into a device to keep me from going insane during the war, and had finally become the permanent axis about which my thoughts revolved

The Dancer believes that his art has something to say which cannot be expressed in words or in any other way than by dancing... There are times when the simple dignity of movement can fulfill the function of a volume of words. There are movements which impinge upon the nerves with a strength that is incomparable, for movement has power to stir the senses and emotions, unique in itself. This is the dancer's justification for being, and his reason for searching further for deeper aspects of his art.

All those summer drives, no matter where I was going, to a person, a project, an adventure, or home, alone in the car with my social life all before and behind me, I was suspended in the beautiful solitude of the open road, in a kind of introspection that only outdoor space generates, for inside and outside are more intertwined than the usual distinctions allow. The emotion stirred by the landscape is piercing, a joy close to pain when the blue is deepest on the horizon or the clouds are doing those spectacular fleeting things so much easier to recall than to describe. Sometimes I thought of my apartment in San Francisco as only a winter camp and home as the whole circuit around the West I travel a few times a year and myself as something of a nomad (nomads, contrary to current popular imagination, have fixed circuits and stable relationships to places; they are far from beign the drifters and dharma bums that the word nomad often connotes nowadays). This meant that it was all home, and certainly the intense emotion that, for example, the sequence of mesas alongside the highway for perhaps fifty miles west of Gallup, N.M., and a hundred miles east has the power even as I write to move me deeply, as do dozens of other places, and I have come to long not to see new places but to return and know the old ones more deeply, to see them again. But if this was home, then I was both possessor of an enchanted vastness and profoundly alienated.

The desire to make art begins early. Among the very young this is encouraged (or at least indulged as harmless) but the push toward a 'serious' education soon exacts a heavy toll on dreams and fantasies....Yet for some the desire persists, and sooner or later must be addressed. And with good reason: your desire to make art -- beautiful or meaningful or emotive art -- is integral to your sense of who you are. Life and Art, once entwined, can quickly become inseparable; at age ninety Frank Lloyd Wright was still designing, Imogen Cunningham still photographing, Stravinsky still composing, Picasso still painting. But if making art gives substance to your sense of self, the corresponding fear is that you're not up to the task -- that you can't do it, or can't do it well, or can't do it again; or that you're not a real artist, or not a good artist, or have no talent, or have nothing to say. The line between the artist and his/her work is a fine one at best, and for the artist it feels (quite naturally) like there is no such line. Making art can feel dangerous and revealing. Making art is dangerous and revealing. Making art precipitates self-doubt, stirring deep waters that lay between what you know you should be, and what you fear you might be. For many people, that alone is enough to prevent their ever getting started at all -- and for those who do, trouble isn't long in coming. Doubts, in fact, soon rise in swarms: "I am not an artist -- I am a phony. I have nothing worth saying. I'm not sure what I'm doing. Other people are better than I am. I'm only a [student/physicist/mother/whatever]. I've never had a real exhibit. No one understands my work. No one likes my work. I'm no good. Yet viewed objectively, these fears obviously have less to do with art than they do with the artist. And even less to do with the individual artworks. After all, in making art you bring your highest skills to bear upon the materials and ideas you most care about. Art is a high calling -- fears are coincidental. Coincidental, sneaky and disruptive, we might add, disguising themselves variously as laziness, resistance to deadlines, irritation with materials or surroundings, distraction over the achievements of others -- indeed anything that keeps you from giving your work your best shot. What separates artists from ex-artists is that those who challenge their fears, continue; those who don't, quit. Each step in the artmaking process puts that issue to the test.

The majority of people spoil their lives by an unhealthy and exaggerated altruism – are forced, indeed, so to spoil them. They find themselves surrounded by hideous poverty, by hideous ugliness, by hideous starvation. It is inevitable that they should be strongly moved by all this. The emotions of man are stirred more quickly than man’s intelligence; and, as I pointed out some time ago in an article on the function of criticism, it is much more easy to have sympathy with suffering than it is to have sympathy with thought. Accordingly, with admirable, though misdirected intentions, they very seriously and very sentimentally set themselves to the task of remedying the evils that they see. But their remedies do not cure the disease: they merely prolong it. Indeed, their remedies are part of the disease. They try to solve the problem of poverty, for instance, by keeping the poor alive; or, in the case of a very advanced school, by amusing the poor. But this is not a solution: it is an aggravation of the difficulty. The proper aim is to try and reconstruct society on such a basis that poverty will be impossible. And the altruistic virtues have really prevented the carrying out of this aim. Just as the worst slave-owners were those who were kind to their slaves, and so prevented the horror of the system being realised by those who suffered from it, and understood by those who contemplated it, so, in the present state of things in England, the people who do most harm are the people who try to do most good; and at last we have had the spectacle of men who have really studied the problem and know the life – educated men who live in the East End – coming forward and imploring the community to restrain its altruistic impulses of charity, benevolence, and the like. They do so on the ground that such charity degrades and demoralises. They are perfectly right. Charity creates a multitude of sins.

When a person reaches the end of a book and says, 'I want to read that again,' what he's actually saying is that he wants to mentally merge with his favorite character and stroll among all the other creative personalities, feeding a hungry imagination through the vicarious reliving of each and every wild chapter that stirred his emotions, the whole while surrendering to a safe yet daring existence where any crazy, hopeful thing can and does happen. That's all.

Good Stories Always Beat Good Spreadsheets” “Whether you are raising money, pitching your product to customers, selling the company, or recruiting employees, never forget that underneath all the math and the MBA bullshit talk, we are all still emotionally driven human beings. We want to attach ourselves to narratives. We don’t act because of equations. We follow our beliefs. We get behind leaders who stir our feelings. In the early days of your venture, if you find someone diving too deep into the numbers, that means they are struggling to find a reason to deeply care about you.

Impatiently I waited for evening, when I might summon you to my presence. An unusual– to me– a perfectly new character, I suspected was yours; I desired to search it deeper, and know it better. You entered the room with a look and air at once shy and independent; you were quaintly dress– much as you are now. I made you talk; ere long I found you full of strange contrasts. Your garb and manner were restricted by rule; your air was often diffident, and altogether that of one refined by nature, but absolutely unused to society, and a good deal afraid of making herself disadvantageously conspicuous by some solecism or blunder; yet, when addressed, you lifted a keen, a daring, and a glowing eye to your interlocutor’s face; there was penetration and power in each glance you gave; when plied by close questions, you found ready and round answers. Very soon you seemed to get used to me – I believe you felt the existence of sympathy between you and your grim and cross master, Jane; for it was astonishing to see how quickly a certain pleasant ease tranquilized your manner; snarl as I would, you showed no surprise, fear, annoyance, or displeasure, at my moroseness; you watched me, and now and then smiled at me with a simple yet sagacious grace I cannot describe. I was at once content and stimulated with what I saw; I liked what I had seen, and wished to see more. Yet, for a long time, I treated you distantly, and sought your company rarely, I was an intellectual epicure, and wished to prolong the gratification of making this novel and piquant acquaintance; besides, I was for a while troubled with a haunting fear that if I handled the flower freely its bloom would fade – the sweet charm of freshness would leave it. I did not then know that it was no transitory blossom, but rather the radiant resemblance of one, cut in an indestructible gem. Moreover, I wished to see whether you would seek me if I shunned you – but you did not; you kept in the school-room as still as your own desk and easel; if by chance I met you, you passed me as soon, and with as little token of recognition, as was consistent with respect. Your habitual expression in those days, Jane, was a thoughtful look; not despondent, fro you were not sickly; but not buoyant, for you had little hope, and no actual pleasure. I wondered what you thought of me– or if you ever thought of me; to find this out, I resumed my notice of you. There was something glad in your glance, and genial in your manner, when you conversed; I saw you had a social heart; it was the silent school-room– it was the tedium of your life that made you mournful. I permitted myself the delight of being kind to you; kindness stirred emotion soon; your face became soft in expression, your tones gentle; I liked my name pronounced by your lips in a grateful, happy accent. I used to enjoy a chance meeting with you, Jane, at this time; there was a curious hesitation in your manner; you glanced at me with a slight trouble– a hovering doubt; you did not know what my caprice might be– whether I was going to play the master, and be stern– or the friend, and be benignant. I was now too fond of you often to stimulate the first whim; and, when I stretched my hand out cordially, such bloom, and light, and bliss, rose to your young, wistful features, I had much ado often to avoid straining you then and there to my heart.

Oh what marvels fill me with thanksgiving! The deep mahogany of a leaf once green. The feathered fronds of tiny icicles coating every twig and branch in a wintry landscape. The feel of goosebumps thawing after endured frozen temperatures. Both hands clamped around a hot mug of herbal tea. The aromatic whiff of mint under my nose. The stir of emotion from a child's cry for mommy. A gift of love detached of strings. Spotted lilies collecting raindrops in a cupped clump of petals. The vibrant mélange of colors on butterfly wings. The milky luster of a single pearl. Rainbows reflecting off iridescence bubbles. Awe-struck silence evoked by any form of beauty. Avocado flecks in your eyes. Warm hands on my face. Sweetness on the tongue. The harmony of voices. An answered prayer. A pink balloon. A caress. A smile. More. These have become my treasures by virtue of thanksgiving.

She was beginning to stir questions in me that I'd spent all my life refusing to ask, since the day I had looked down from the window at the broken body of the schoolboy on the flagstones a long way below, while a master hurried from the cloisters with his black gown flapping in the winter wind, to see what had happened: the day when I was suddenly old enough to understand that I had a choice. I could either do what that other boy had done, or I could spend the rest of my life outside society, where it was safe

Extremism stifles true progression in all fields of human advancement; it is a detriment to everything but war, tribalism and the personal power of Nietzschean entities, striving only for the narcissistic vindication of their ego and will. The enlightened mind knows that all is challengeable, ergo questions all and thus, learns and grows; progression. The weak and narrow mind makes its beliefs sacrosanct; fearful of challenge, their creed becomes unalterable, defended with violence. Political extremists, much like religious zealots, are the latter. They destroy what they cannot convert. They annihilate those they cannot control, or force to conform. They have found no peace in life, no love, and so promote war and division, as emotional cripples – inflicting their own pain and misery and malignant stupidity on the world. Their language binds people together, but only by stirring the darkest excesses of the soul; language of hate, and intolerance, fear and conspiracy, and the need for vengeance. In war-scarred Europe, these cripples direct mass-psychology, and would make the world in their own likeness; mutilated by violence and tribalism and hate.

The power which has always started the greatest religious and political avalanches in history rolling has from time immemorial been the magic power of the spoken word, and that alone. The broad masses of the people can be moved only by the power of speech. All great movements are popular movements, volcanic eruptions of human passions and emotional sentiments, stirred either by the cruel Goddess of Distress or by the firebrand of the word hurled among the masses; they are not the lemonade-like outpourings of the literary aesthetes and drawing-room heroes.55

I’m glad you’re here, Lila,” he said. “I hope you feel that way, too.” Devon stared at me, a mix of emotions swirling through his eyes. I saw everything I had that first day at the Razzle Dazzle—the guilt, grief, sorrow, and all the other burdens he carried in his heart. And then there was that hot spark, a little darker and dimmer than before, but still burning all the same. “Me too,” I said. Devon smiled, and that spark brightened just for a moment, and I felt an answering bit of warmth stir in my own heart. I nodded at him, and we both went back to our food, things a little less tense between us. A few seconds later, we were laughing, along with Oscar, as Mo and Felix talked over each other nonstop. Somewhere between those laughs and all the others that morning, I realized something. My home. My friends. My Family. Sometimes, good things come in threes.

He watched her for several minutes. Something was stirred in him, something not accounted for by the warm smell of the afternoon or the triumphant vividness of red. He felt persistently that the girl was beautiful — then of a sudden he understood: it was her distance, not a rare and precious distance of soul but still distance, if only in terrestrial yards. The autumn air was between them, and the roofs and the blurred voices. Yet for a not altogether explained second, posing perversely in time, his emotion had been nearer to adoration than in the deepest kiss he had ever known.

There was a muffled tap again, and I heard a familiar voice whisper faintly, “Kelsey, it’s me.” I unlocked the door and peeked out. Ren was standing there dressed in his white clothes, barefoot, with a triumphant grin on his face. I pulled him inside and hissed out thickly, “What are you doing here? It’s dangerous coming into town! You could have been seen, and they’d send hunters out after you!” He shrugged his shoulders and grinned. “I missed you.” My mouth quirked up in a half smile. “I missed you too.” He leaned a shoulder nonchalantly against the doorframe. “Does that mean you’ll let me stay here? I’ll sleep on the floor and leave before daylight. No one will see me. I promise.” I let out a deep breath. “Okay, but promise you’ll leave early. I don’t like you risking yourself like this.” “I promise.” He sat down on the bed, took my hand, and pulled me down to sit beside him. “I don’t like sleeping in the dark jungle by myself.” “I wouldn’t either.” He looked down at our entwined hands. “When I’m with you, I feel like a man again. When I’m out there all alone, I feel like a beast, an animal.” His eyes darted up to mine. I squeezed his hand. “I understand. It’s fine. Really.” He grinned. “You were hard to track, you know. Lucky for me you two decided to walk to dinner, so I could follow your scent right to your door.” Something on the nightstand caught his attention. Leaning around me, he reached over and picked up my open journal. I had drawn a new picture of a tiger-my tiger. My circus drawings were okay, but this latest one was more personal and full of life. Ren stared at it for a moment while a bright crimson flush colored my cheeks. He traced the tiger with his finger, and then whispered gently, "Someday, I'll give you a portrait of the real me." Setting the journal down carefully, he took both of my hands in his, turned to me with an intense expression, and said, "I don't want you to see only a tiger when you look at me. I want you to see me. The man." Reaching out, he almost touched my cheek but he stopped and withdrew his hand. "I've worn the tiger's face for far too many years. He's stolen my humanity." I nodded while he squeezed my hands and whispered quietly, "Kells, I don't want to be him anymore. I want to be me. I want to have a life." "I know," I said softly. I reached up to stroke his cheek. "Ren, I-" I froze in place as he pulled my hand slowly down to his lips and kissed my palm. My hand tingled. His blue eyes searched my face desperately, wanting, needing something from me. I wanted to say something to reassure him. I wanted to offer him comfort. I just couldn't frame the words. His supplication stirred me. I felt a deep bond with him, a strong connection. I wanted to help him, I wanted to be his friend, and I wanted...maybe something more. I tried to identify and categorize my reactions to him. What I felt for him seemed too complicated to define, but it soon became obvious to me that the strongest emotion I felt, the one that was stirring my heart, was...love.

Idiot!" he cried, "that from you! Here I sit, young Anthony, as I'll sit for a generation or more and watch such gay souls as you and Dick and Gloria Gilbery go past me, dancing and singing and loving and hating one another and being moved, being eternally moved. And I am moved only by my lack of emotion. I shall sit and the snow will come--oh, for a Caramel to take notes--and another winter and I shall be thirty and you and Dick and Gloria will go on being eternally moved and dancing by me and singing. But after you've all gone I'll be saying things for new Dicks to write down, and listening to the disillusions and cynicisms and emotions of new Anthonys--yes, and talking to new Glorias about the tans of summers yet to come." The firelight flurried up on the hearth. Maury left the window, stirred the blaze with a poker, and dropped a log upon the andirons. Then he sat back in his chair and the remnants of his voice faded in the new fire that spit red and yellow along the bark. "After all, Anthony, it's you who are very romantic and young. It's you who are infinitely more susceptible and afraid of your calm being broken. It's me who tries again and again to be moved--let myself go a thousand times and I'm always me. Nothing--quite--stirs me. "Yet," he murmured after another long pause, "there was something about that little girl with her absurd tan that was eternally old--like me.

The left and right sides of the brain also process the imprints of the past in dramatically different ways.2 The left brain remembers facts, statistics, and the vocabulary of events. We call on it to explain our experiences and put them in order. The right brain stores memories of sound, touch, smell, and the emotions they evoke. It reacts automatically to voices, facial features, and gestures and places experienced in the past. What it recalls feels like intuitive truth—the way things are. Even as we enumerate a loved one’s virtues to a friend, our feelings may be more deeply stirred by how her face recalls the aunt we loved at age four.3 Under ordinary circumstances the two sides of the brain work together more or less smoothly, even in people who might be said to favor one side over the other. However, having one side or the other shut down, even temporarily, or having one side cut off entirely (as sometimes happened in early brain surgery) is disabling. Deactivation of the left hemisphere has a direct impact on the capacity to organize experience into logical sequences and to translate our shifting feelings and perceptions into words. (Broca’s area, which blacks out during flashbacks, is on the left side.) Without sequencing we can’t identify cause and effect, grasp the long-term effects of our actions, or create coherent plans for the future. People who are very upset sometimes say they are “losing their minds.” In technical terms they are experiencing the loss of executive functioning. When something reminds traumatized people of the past, their right brain reacts as if the traumatic event were happening in the present. But because their left brain is not working very well, they may not be aware that they are reexperiencing and reenacting the past—they are just furious, terrified, enraged, ashamed, or frozen. After the emotional storm passes, they may look for something or somebody to blame for it. They behaved the way they did way because you were ten minutes late, or because you burned the potatoes, or because you “never listen to me.” Of course, most of us have done this from time to time, but when we cool down, we hopefully can admit our mistake. Trauma interferes with this kind of awareness, and, over time, our research demonstrated why.

It was his detachment that saved us. Another man would have reacted with force to the Soviet treachery. He would have shared the righteousness of the cause, been stirred to attack by the saber rattling. Jack resisted. He was not moved by the emotion of other around him. He knew his course and stayed to it. Thank God. The boy who had read alone of history's heroes was now safely on of them. He had done it not winning a war, but by averting one far more horrible than any leader in the past could have imagined.

By and by your attention becomes so intensely focused that you no longer notice the raw knuckles, the cramping thighs, the strain of maintaining nonstop concentration. A trancelike state settles over your efforts; the climb becomes a clear-eyed dream. Hours slide by like minutes. The accumulated clutter of day-today existence—the lapses of conscience, the unpaid bills, the bungled opportunities, the dust under the couch, the inescapable prison of your genes—all of it is temporarily forgotten, crowded from your thoughts by an overpowering clarity of purpose and by the seriousness of the task at hand. At such moments something resembling happiness actually stirs in your chest, but it isn’t the sort of emotion you want to lean on very hard. In solo climbing the whole enterprise is held together with little more than chutzpah, not the most reliable adhesive.

True eloquence is irresistible. It charms by its images of beauty, it enforces an argument by its vehement simplicity. Orators whose speeches are "full of sound and fury, signifying nothing," only prevail where truth is not understood, for knowledge and simplicity are the foundation of all true eloquence. Eloquence abounds in beautiful and natural images, sublime but simple conceptions, in passionate but plain words. Burning words appeal to the emotions as well as to the intellect; they stir the soul and touch the heart.

The emotions of man are stirred more quickly than man’s intelligence; and, as I pointed out some time ago in an article on the function of criticism, it is much more easy to have sympathy with suffering than it is to have sympathy with thought.  Accordingly, with admirable, though misdirected intentions, they very seriously and very sentimentally set themselves to the task of remedying the evils that they see.  But their remedies do not cure the disease: they merely prolong it.  Indeed, their remedies are part of the disease.

The heroic and often tragic stories of American whalemen were renowned. They sailed the world’s oceans and brought back tales filled with bravery, perseverance, endurance, and survival. They mutinied, murdered, rioted, deserted, drank, sang, spun yarns, scrimshawed, and recorded their musings and observations in journals and letters. They survived boredom, backbreaking work, tempestuous seas, floggings, pirates, putrid food, and unimaginable cold. Enemies preyed on them in times of war, and competitors envied them in times of peace. Many whalemen died from violent encounters with whales and from terrible miscalculations about the unforgiving nature of nature itself. And through it all, whalemen, those “iron men in wooden boats” created a legacy of dramatic, poignant, and at times horrific stories that can still stir our emotions and animate the most primal part of our imaginations. “To produce a mighty book, you must choose a mighty theme,” proclaimed Herman Melville, and the epic story of whaling is one of the mightiest themes in American history.

When you hold a belief strongly, it is difficult to believe something that is so contrary to it, even if the evidence is undeniable and staring you in the face. When you start opening your eyes to ways the CN has controlled, manipulated, belittled, and demeaned you for years, this is a huge reality paradigm shift. You will fight hard against the evidence no matter how obvious it is. This stirs up great insecurity, confusion, and anxiety in the body. What makes it even harder is that people around you see the CN in a positive light. Cognitive dissonance is one of the most challenging components of healing and recovery. It takes enormous mental strength to look past strong beliefs you have held and be open to looking honestly at the reality that is presenting itself.

You think I read your thoughts, but it's your eyes that speak to me. When they glisten with moisture, I see a depth of emotion stirring behind them. One tearful glance begs me for a reassuring embrace. When your gaze glazes over like a misty morning, I know I've lost you to personal cares. A sharp, narrow look will keep me at bay while a wink and twinkle and the flirty flutter of your dark eyelashes invite my company. The strength and duration of a stare gives your feelings towards me away. And when those wary eyes dart to avoid my notice, all of your hidden secrets are betrayed.

And now, restored to the status of daughter in her own home, Amina began to feel the emotions of other people's food seeping into her - because Reverend Mother doled out the curries and meatballs of intransigence, dishes imbued with the personality of their creator; Amina ate the fish salans of stubbornness and the birianis of determination. And, although Mary's pickles had a partially counteractive effect - since she had stirred into them the guilt of her heart, and the fear of discovery, so that, good as they tasted, they had the power of making those who ate them subject to nameless uncertainties and dreams of accusing fingers - the diet provided by Reverend Mother filled Amina with a kind of rage, and even produced slight signs of improvements in her defeated husband.

So if you cannot concentrate one of the following is the cause: 1. "Deficiency of the motor centers." 2. "An impulsive and emotional mind." 3. "An untrained mind." The last fault can soon be removed by systematic practice. It is easiest to correct. The impulsive and emotional state of mind can best be corrected by restraining anger, passion and excitement, hatred, strong impulses, intense emotions, fretfulness, etc. It is impossible to concentrate when you are in any of these excited states. These can be naturally decreased by avoiding such food and drinks as have nerve weakening or stimulating influences, or a tendency to stir up the passions, the impulses and the emotions; it is a very good practice to watch and associate with those persons that are steady, calm, controlled and conservative.

Musicians are some of the most driven, courageous people on the face of the earth. They deal with more day-to-day rejection in one year than most people do in a lifetime. Every day, they face the financial challenge of living a freelance lifestyle, the disrespect of people who think they should get real jobs, and their own fear that they’ll never work again. Every day, they have to ignore the possibility that the vision they have dedicated their lives to is a pipe dream. With every note, they stretch themselves, emotionally and physically, risking criticism and judgement. With every passing year, many of them watch as the other people their age achieve the predictable milestones of normal life – the car, the family, the house, the nest egg. Why? Because musicians are willing to give their entire lives to a moment – to that melody, that lyric, that chord, or that interpretation that will stir the audience’s soul. Musicians are beings who have tasted life’s nectar in that crystal moment when they poured out their creative spirit and touched another’s heart. In that instant, they were as close to magic, God, and perfection as anyone could ever be. And in their own hearts, they know that to dedicate oneself to that moment is worth a thousand lifetimes.

Having proven that solitary pleasures are as delicious as any others and much more likely to delight, it becomes perfectly clear that this enjoyment, taken in independence of the objectwe employ, is not merely of a nature very remote from what could be pleasurable to thatobject, but is even found to be inimical to that object’s pleasure: what is more, it may becomean imposed suffering, a vexation, or a torture, and the only thing that results from this abuse isa very certain increase of pleasure for the despot who does the tormenting or vexing; let usattempt to demonstrate this.”Voluptuous emotion is nothing but a kind of vibration produced in our soul by shockswhich the imagination, inflamed by the remembrance of a lubricious object, registers uponour senses, either through this object’s presence, or better still by this object’s being exposedto that particular kind of irritation which most profoundly stirs us; thus, our voluptuoustransport Ä this indescribable convulsive needling which drives us wild, which lifts us to thehighest pitch of happiness at which man is able to arrive Ä is never ignited save by twocauses: either by the perception in the object we use of a real or imaginary beauty, the beautyin which we delight the most, or by the sight of that object undergoing the strongest possiblesensation; now, there is no more lively sensation than that of pain; its impressions are certainand dependable, they never deceive as may those of the pleasure women perpetually feign andalmost never experience; and, furthermore, how much self-confidence, youth, vigor, healthare not needed in order to be sure of producing this dubious and hardly very satisfyingimpression of pleasure in a woman. To produce the painful impression, on the contrary,requires no virtues at all: the more defects a man may have, the older he is, the less lovable,the more resounding his success. With what regards the objective, it will be far more certainlyattained since we are establishing the fact that one never better touches, I wish to say, that onenever better irritates one’s senses than when the greatest possible impression has been produced in the employed object, by no matter what devices; therefore, he who will cause themost tumultuous impression to be born in a woman, he who will most thoroughly convulsethis woman’s entire frame, very decidedly will have managed to procure himself the heaviest possible dose of voluptuousness, because the shock resultant upon us by the impressionsothers experience, which shock in turn is necessitated by the impression we have of thoseothers, will necessarily be more vigorous if the impression these others receive be painful,than if the impression they receive be sweet and mild; and it follows that the voluptuousegoist, who is persuaded his pleasures will be keen only insofar as they are entire, willtherefore impose, when he has it in his power to do so, the strongest possible dose of painupon the employed object, fully certain that what by way of voluptuous pleasure he extractswill be his only by dint of the very lively impression he has produced.

You wrote to me. Do not deny it. I’ve read your words and they evoke My deep respect for your emotion, Your trusting soul… and sweet devotion. Your candour has a great appeal And stirs in me, I won’t conceal, Long dormant feelings, scarce remembered. But I’ve no wish to praise you now; Let me repay you with a vow As artless as the one you tendered; Hear my confession too, I plead, And judge me both by word and deed. 13 ’Had I in any way desired To bind with family ties my life; Or had a happy fate required That I turn father, take a wife; Had pictures of domestication For but one moment held temptation- Then, surely, none but you alone Would be the bride I’d make my own. I’ll say without wrought-up insistence That, finding my ideal in you, I would have asked you—yes, it’s true— To share my baneful, sad existence, In pledge of beauty and of good, And been as happy … as I could! 14 ’But I’m not made for exaltation: My soul’s a stranger to its call; Your virtues are a vain temptation, For I’m not worthy of them all. Believe me (conscience be your token): In wedlock we would both be broken. However much I loved you, dear, Once used to you … I’d cease, I fear; You’d start to weep, but all your crying Would fail to touch my heart at all, Your tears in fact would only gall. So judge yourself what we’d be buying, What roses Hymen means to send— Quite possibly for years on end! 15 ’In all this world what’s more perverted Than homes in which the wretched wife Bemoans her worthless mate, deserted— Alone both day and night through life; Or where the husband, knowing truly Her worth (yet cursing fate unduly) Is always angry, sullen, mute— A coldly jealous, selfish brute! Well, thus am I. And was it merely For this your ardent spirit pined When you, with so much strength of mind, Unsealed your heart to me so clearly? Can Fate indeed be so unkind? Is this the lot you’ve been assigned? 16 ’For dreams and youth there’s no returning; I cannot resurrect my soul. I love you with a tender yearning, But mine must be a brother’s role. So hear me through without vexation: Young maidens find quick consolation— From dream to dream a passage brief; Just so a sapling sheds its leaf To bud anew each vernal season. Thus heaven wills the world to turn. You’ll fall in love again; but learn … To exercise restraint and reason, For few will understand you so, And innocence can lead to woe.

inevitable. The characters we’ve come to know and love are no longer part of our lives. This can leave us with a certain longing. Perhaps we’ll open the book again and skim through it, searching out favorite passages to kindle again those powerful emotions. But the passion is never stirred quite as strong the second time around. So it is with life. We rush through the days that we’re given, eager to engage in the conflicts and passions, to push through and conquer and see how it all ends. When suddenly the end is in sight, we’re surprised. We stall, frantically savoring each moment. The sun shines brighter, the smiles appear more tender and we listen for words of love with an urgency that would be poignant if it were

Why is it that so many ghosts prefer to travel the halls of night? Ask the living and they will tell you that these spirits either have some unquenched desire or an unaddressed grievance that stirs them from their sleep and sends them out into the world in search of solace. But the living are so self-centered. Of course they would judge a spirit’s nocturnal wanderings as the product of earthly memories. When, in fact, if these restless souls wanted to harrow the bustling avenues of noon, there is nothing to stop them from doing so. No. If they wander the halls of night, it is not from a grievance with or envy of the living. Rather, it is because they have no desire to see the living at all. Any more than snakes hope to see gardeners, or foxes the hounds. They wander about at midnight because at that hour they can generally do so without being harried by the sound and fury of earthly emotions. After all those years of striving and struggling, of hoping and praying, of shouldering expectations, stomaching opinions, navigating decorum, and making conversation, what they seek, quite simply, is a little peace and quiet.

Looking back to [Christendom's] youth, we recall the emotional stirrings, the deep sense of Christian purpose, when a temple, say, challenged the existing social order... Where is our Christian duty, our Christian aim? We do not know, we cannot say. Yet our ignorance and silence are certainly not due to the fact that the welfare state has made Christian thinking out of date and irrelevant. The reason we have nothing to say to the contemporary situation is that we have not been thinking about the contemporary situation. We stopped thinking about these things long ago. We stopped thinking Christianly outside the scope of personal morals and personal spirituality. We got into the habit of stepping out of our Christian garments whenever we stepped mentally into the field of social and political life. Becuase the subject was social or political, we left all of our well-tried and well-grounded Christian concepts behind us, and adopted the vocabulary of secularism. We put aside all talk of vocation, or God's providence, or man's spiritual destiny, and instead chattered with the rest about productivity, assembly line psychology, and deployment of personnel.

The word for teardrinkers is lachryphagous, and for the eaters of human flesh it is anthropophagous, and the rest of us feed on sorrow all the time. It is the essence of many of the most beautiful ballads and pop songs, and why sorrow and heartbreak are so delicious might have to do with the emotions it stirs in us, the empathy for others' suffering, and the small comfort of not being alone with our own. With a sad song we feel a delicate grief, as though we mourn for three minutes a loss we can't remember but taste again, sorrow like salt tears, and then close it up like a letter in the final notes. Sadness the blue like dusk, the reminder that all things are emphemeral, and that because there is time there is change and that is another name for change, if you look back toward what is vanishing in the distance, is loss. But sadness is also beautiful, maybe because it rings so true and goes so deep, because it is about the distances in our lives, the things we lose, the abyss between what the lover and the beloved want and imagine and understand that may widen to become unbridgeable any moment, the distance between the hope at the onset and the eventual outcome, the journeys we have to travel, including the last one out of being and on past becoming into the unimaginable: the moth flown into the pure dark.

Like here it was that I entered that stage when a child overcomes naivite enough to realize an adult's emotional reaction as somethimes freakish for its inconsistencies, so can, on his own reasoning canvas, paint those early pale colors of judgement, resulting from initial moments of ability to critically examine life's perplexities, in tentative little brain-engine stirrings, before they faded to quickly join that train of remembered experience carrying signals indicating existence which itself far outweighs traction effort by thinking's soon slipping drivers to effectively resist any slack-action advantage, for starting so necessitates continual cuts on the hauler - performed as if governed lifelong by the tagwork of a student-green foreman who, crushed under on rushing time always building against his excessive load of emotional contents, is forever a lost ball in the high weeds of personal developments - until, with ever changing emphasis through a whole series of grades of consciousness (leading up from root-beginnings of obscure childish inconscious soul within a world), early lack - for what child sustains logic? - reaches a point of late fossilization, resultant of repeated wrong moves in endless switching of dark significances crammed inside the cranium, where, through such hindering habits, there no longer is the flexibility for thought transfer and unloading of dead freight that a standard gauge would afford and thus, as Faustian Destiny dictates, is an inept mink, limited, being in existence firmly tracked just above the constant "T" biased ballast supporting wherever space yearnings lead the worn rails of civilized comprehension, so henceforth is restricted to mere pickups and setouts of drab distortion, while traveling wearily along its familiar Western Thinking right-of-way. But choo-choo nonsense aside, ...

Early on a difficult climb, especially a difficult solo climb, you constantly feel the abyss pulling at your back. To resist takes a tremendous conscious effort; you don't dare let your guard down for an instant. The siren song of the void puts you on edge; it makes your movements tentative, clumsy, herky-jerky. But as the climb goes on, you grow accustomed to the exposure, you get used to rubbing shoulders with doom, you come to believe in the reliability of your hands and feet and head. You learn to trust your self-control. By and by your attention becomes so intensely focused that you no longer notice the raw knuckles, the cramping thighs, the strain of maintaining nonstop concentration. A trancelike state settles over your efforts; the climb becomes a clear-eyed dream. Hours slide by like minutes. The accumulated clutter of day-to-day existence — the lapses of conscience, the unpaid bills, the bungled opportunities, the dust under the couch, the inescapable prison of your genes — all of it is temporarily forgotten, crowded from your thoughts by an overpowering clarity of purpose and by the seriousness of the task at hand. At such moments something resembling happiness actually stirs in your chest, but it isn't the sort of emotion you want to lean on very hard. In solo climbing the whole enterprise is held together with little more than chutzpah, not the most reliable adhesive.

Freedom to Suspend Contact Ideally, you’d probably like to have the freedom to be yourself yet protect yourself while continuing to relate to your parent. Still, you might find it necessary at times to protect your emotional health by suspending contact for a while. Although this can stir up tremendous guilt and self-doubt, consider the possibility that you may have good reasons for keeping your distance. For example, your parent may be emotionally hurtful or disrespect your boundaries—an intrusive way of relating that impinges upon your right to your own identity. You may want to take a break from dealing with a parent who behaves in this way. Some parents are so unreflective that, despite repeated explanations, they simply don’t accept that their behavior is problematic. In addition, some sadistic parents truly are malevolent toward their children, and enjoy the pain and frustration they cause. Children of these sorts of parents may decide that suspending contact is the best solution. Just because a person is your biological parent doesn’t mean you have to keep an emotional or social tie to that person. Fortunately, you don’t need to have an active relationship with your parents to free yourself from their influence. If this weren’t so, people wouldn’t be able to emotionally separate from parents who live far away or have died. True freedom from unhealthy roles and relationships starts within each of us, not in our interactions and confrontations with others. Aisha’s

From that first meeting he had loved this woman, but passionately as his feelings surged over him, following him even to his dreams, the crucial factor that would shake him to the core was still lacking - his conscious realization that what, denying his true feelings, he still called admiration, respect and devotion was in fact love - a burning, unbounded, absolute and passionate love. Some kind of servile instinct in him forcibly suppressed that realization; she was too distant, too far away, too high above him, a radiant woman surrounded by a circle of stars, armoured by her wealth and by all that he had ever known of women before. It would have seemed blasphemous to think of her as a sexual being, subject to the same laws of the blood as the few other women who had come his way during his youth spent in servitude [...]. No, this was different. She shone down from another sphere, beyond desire, pure and inviolable, and even in his most passionate dreams he did not venture so far as to undress her. In boyish confusion, he loved the fragrance of her presence, appreciating all her movements as if they were music, glad of her confidence in him and always fearing to show her any of the overwhelming emotion that stirred within him, an emotion still without a name, but long since fully formed and glowing in its place of concealment. But love truly becomes love only when, no longer an embryo developing painfully in the darkness of the body, it ventures to confess itself with lips and breath. However hard it tries to remain a chrysalis, a time comes when the intricate tissue of the cocoon tears, and out it falls, dropping from the heights to the farthest depths, falling with redoubled force into the startled heart.

Before he could say my name, I closed the space between us. Quickly, my lips moved against his. The mental and emotional emptiness took over instantly, but physically, I was more alert than ever. Wesley’s surprise didn’t last as long as it had before, and his hands were on me in seconds. My fingers tangled in his soft hair, and Wesley’s tongue darted into my mouth and became a new weapon in our war. Once again, my body took complete control of everything. Nothing existed at the corners of my mind; no irritating thoughts harassed me. Even the sounds of Wesley’s stereo, which had been playing some piano rock I didn’t recognize, faded away as my sense of touch heightened. I was fully conscious of Wesley’s hand as it slid up my torso and moved to cup my breast. With an effort, I pushed him away from me. His eyes were wide as he leaned back. “Please don’t slap me again,” he said. “Shut up.” I could have stopped there. I could have stood up and left the room. I could have let that kiss be the end of it. But I didn’t. The mind-numbing sensation I got from kissing him was so euphoric-such a high-that I couldn’t stand to give it up that fast. I might have hated Wesley Rush, but he held the key to my escape, and at that moment I wanted him… I needed him. Without speaking, without hesitating, I pulled my T-shirt over my head and threw it onto Wesley’s bedroom floor. He didn’t have a chance to say anything before I put my hands on his shoulders and shoved him onto his back. A second later, I was straddling him and we were kissing again. His fingers undid the clasp on my bra, and it joined my shirt on the floor. I didn’t care. I didn’t feel self-conscious or shy. I mean, he already knew I was the Duff, and it wasn’t like I had to impress him. I unbuttoned his shirt as he pulled the alligator clip from my hair and let the auburn waves fall around us. Casey had been right. Wesley had a great body. The skin pulled tight over his sculpted chest, and my hands drifted down his muscular arms with amazement. His lips moved to my neck, giving me a moment to breathe. I could only smell his cologne this close to him. As his mouth traveled down my shoulder, a thought pushed through the exhilaration. I wondered why he hadn’t shoved me-Duffy-away in disgust. Then again, I realized, Wesley wasn’t known for rejecting girls. And I was the one who should have been disgusted. But his mouth pressed into mine again, and that tiny, fleeting thought died. Acting on instinct, I pulled on Wesley’s lower lip with my teeth, and he moaned quietly. His hands moved over my ribs, sending chills up my spine. Bliss. Pure, unadulterated bliss. Only once, as Wesley flipped me onto my back, did I seriously consider stopping. He looked down at me, and his skilled hand grasped the zipper on my jeans. My dormant brain stirred, and I asked myself if things had gone too far. I thought about pushing him away, ending it right where we were. But why would I stop now? What did I stand to lose? Yet what could I possibly gain? How would I feel about this in an hour… or sooner? Before I could come up with any answers, Wesley had my jeans and underwear off. He pulled a condom from his pocket (okay, now that I’m thinking about it, who keeps condoms in their pockets? Wallet, yes, but pocket? Pretty presumptuous, don’t you think?), and then his pants were on the floor, too. All of a sudden, we were having sex, and my thoughts were muted again.

Jay came over as soon as Violet called him; she didn’t even have to give him a reason. He was there in less than ten minutes. Of course, he’d heard about what had happened to Hailey. Everyone had. Buckley was a small town, and news traveled fast . . . especially bad news. When he got there she told him what she was thinking about doing. It was nothing dangerous, at least as far as she was concerned, and she hadn’t expected Jay to disagree with her about it. So when he did, she was more than a little bit surprised by his stubborn reaction. “No way,” he insisted, and his voice left little room for argument. “There is no way you’re going to go around looking for this guy.” Violet was shocked by the tone of his voice, and by the harsh look he shot at her. She thought maybe he misunderstood her plan, so she tried to explain it to him again. “Jay, I’m only going to public places, like malls and parks, to see if I can get a feeling for who this guy is. Who knows, maybe he goes to places like that to find them, maybe he hands out there waiting to pick out a girl to . . . you know, kidnap.” She tried to make her argument sound logical, but there was a desperate edge to her voice. “I’m not going out alone . . . you can go with me. We’ll just hang out at different places to see if we can find him. And if we do, we’ll call my uncle. It’s not like we’d do anything stupid.” “’Anything stupid’ would be going out to look for a killer. I won’t let you go looking for trouble, Violet. This guy is dangerous, and you need to leave it to the cops. They know what they’re doing. And they’re armed.” He sounded like he thought she’d lost her mind, and maybe she had, but she had already made her decision. “Look, I’m doing this. I was just asking you to come along with me.” “You’re not,” he insisted. “Even if I have to tell your uncle and your parents what you’re planning. I promise you, you’re not doing it.” She could feel her temper flaring. “You can’t stop me, Jay. If you tell on me, then I’ll lie. I’ll bat my eyes innocently and promise not to go looking for this guy. But I swear to you that every chance I get, even if I have to sneak out of the house to do it, I will be trying to find him.” She stood up, meaning to glare back at him, but instead found herself craning her neck just so she could see his face. The awkward position didn’t steal nay of her thunder. She refused to back down. “I mean it, Jay. You can’t stop me.” Jay glared incredulously back at her. Emotions ranging from disbelief to frustration and back to disbelief again flashed darkly across his face. He seemed to be fighting with himself now. But when she heard him sigh, and then saw him raking his hand restlessly through his hair, she knew she’d won. His icy determination seemed to melt right before her eyes. “Damn it, Violet.” He sighed brusquely, wrapping his arms around her and holding her tightly. “What choice do I have?” he asked as he practically squeezed the life out of her. She wasn’t sure how to react to him now. It definitely wasn’t a tender hug, but the close contact made her undisclosed desires stir all the same. She couldn’t help wondering if he felt even a fraction of what she did. His arms were strong, and she felt safe in the circle of them. She’d never imaged that she could feel so comfortable and so uncomfortable at the same time. She waited within the space of his embrace to see where this was going. “So, how is this going to work?” he demanded roughly against the top of her head.

July 1st It’s as though everything stood still. There is no movement, no stirring, complete emptiness of all thought, of all seeing. There is no interpreter to translate, to observe, to censor. An immeasurable vastness that is utterly still and silent. There is no space, nor time to cover that space. The beginning and the ending are here, of all things. There is really nothing that can be said about it. The pressure and the strain have been going on quietly all day; only now they have increased. 2nd The thing which happened yesterday, that immeasurable still vastness, went on all the evening, even though there were people and general talk. It went on all night; it was there in the morning. Though there was rather exaggerated, emotionally agitated talk, suddenly in the middle of it, it was there. And it is here, there’s a beauty and a glory and there’s a sense of wordless ecstasy. The pressure and the strain began rather early. 3rd Been out all day. All the same, in a crowded town in the afternoon, for two or three hours the pressure and the strain of it was on. 4th Been busy, but in spite of it, the pressure and the strain of it was there in the afternoon. Whatever actions one has to do in daily life, the shocks and the various incidents should not leave their scars. These scars become the ego, the self, and as one lives, it becomes strong and its walls almost become impenetrable. 5th Been too busy but whenever there is some quiet, the pressure and the strain was on. 6th Last night woke up with that sense of complete stillness and silence; the brain was fully alert and intensely alive; the body was very quiet. This state lasted for about half an hour. This in spite of an exhausting day. The height of intensity and sensitivity is the experiencing of essence. It’s this that is beauty beyond word and feeling. Proportion and depth, light and shade are limited to time-space, caught in beauty-ugliness. But that which is beyond line and shape, beyond learning and knowledge, is the beauty of essence. 7th Woke up several times shouting. Again there was that intense stillness of the brain and a feeling of vastness. There has been pressure and strain. Success is brutality. Success in every form, political and religious, art and business. To be successful implies ruthlessness.

Your mother told you," he states flatly. "Yeah," I snap. "She told me." "She doesn't know everything. She doesn't know me...or how I feel. I would never force you to do anything against your will, and I would never, ever let anyone harm you." His words enrage me. Lies, I'm convinced. My hand shoots out, ready to slap that earnest look off his face. The same earnest look he'd given me the first time he lid to my face. He catches my hand, squeezes the wrist tight. "Jacinda-" "I don't believe you. You gave me your word. Five weeks-" "Five weeks was too long. I couldn't leave you for that long without checking on you." "Because you're a liar," I assert. His expression cracks. Emotion bleeds through. He knows I'm not talking about just the five weeks. With a shake of his head, he sounds almost sorry as he admits, "Maybe I didn't tell you everything, but it doesn't change anything I said. I will never hurt you. I want to try to protect you." "Try," I repeat. His jaw clenches. "I can. I can stop them." After several moments, I twist my hand free. He lets me go. Rubbing my wrist, I glare at him. "I have a life here now." My fingers stretch, curl into talons at my sides, still hungry to fight him. "Make me go, and I'll never forgive you." He inhales deeply, his broad chest lifting high. "Well. I can't have that." "Then you'll go? Leave me alone?" Hope stirs. He shakes his head. "I didn't say that." "Of course not," I sneer. "What do you mean then?" Panic washes over me at the thought of him staying here and learning about Will and his family. "There's no reason for you to stay." His dark eyes glint. "There's you. I can give you more time. You can't seriously fit in here. You'll come around." "I won't!" His voice cracks like thunder on the air. "I won't leave you! Do you know how unbearable it's been without you? You're not like the rest of them." His hand swipes through air almost savagely. I stare at him, eyes wide and aching. "You're not some well-trained puppy content to go alone with what you're told. You have fire." He laughs brokenly. "I don't mean literally, although there is that. There's something in you, Jacinda. You're the only thing real for me there, the only thing remotely interesting." He stares at me starkly and I don't breathe. He looks ready to reach out and fold me into his arms. I jump hastily back. Unbelievably, he looks hurt. Dropping his immense hands, he speaks again, evenly, calmly. "I'll give you more space. Time for you to realize that this"-he motions to the living room-"isn't for you. You need mists and mountains and sky. Flight. How can you stay here where you have none of that? How can you hope to survive? If you haven't figured that out yet, you will." In my mind, I see Will. Think how he has become the mist, the sky, everything, to me. I do more than survive here. I love. But Cassian can never know that. “What I have here beats what waits for me back home. The wing clipping you so conveniently failed to mention-" "Is not going to happen, Jacinda." He steps closer. His head dips to look into my eyes. "You have my word. If you return with me, you won't be harmed. I'd die first." His words flow through me like a chill wind. "But your father-" "My father won't be our alpha forever. Someday, I'll lead. Everyone knows it. The pride will listen to me. I promise you'll be safe.

The studio was immense and gloomy, the sole light within it proceeding from a stove, around which the three were seated. Although they were bold, and of the age when men are most jovial, the conversation had taken, in spite of their efforts to the contrary, a reflection from the dull weather without, and their jokes and frivolity were soon exhausted. In addition to the light which issued from the crannies in the stove, there was another emitted from a bowl of spirits, which was ceaselessly stirred by one of the young men, as he poured from an antique silver ladle some of the flaming spirit into the quaint old glasses from which the students drank. The blue flame of the spirit lighted up in a wild and fantastic manner the surrounding objects in the room, so that the heads of old prophets, of satyrs, or Madonnas, clothed in the same ghastly hue, seemed to move and to dance along the walls like a fantastic procession of the dead; and the vast room, which in the day time sparkled with the creations of genius, seemed now, in its alternate darkness and sulphuric light, to be peopled with its dreams. Each time also that the silver spoon agitated the liquid, strange shadows traced themselves along the walls, hideous and of fantastic form. Unearthly tints spread also upon the hangings of the studio, from the old bearded prophet of Michael Angelo to those eccentric caricatures which the artist had scrawled upon his walls, and which resembled an army of demons that one sees in a dream, or such as Goya has painted; whilst the lull and rise of the tempest without but added to the fantastic and nervous feeling which pervaded those within. Besides this, to add to the terror which was creeping over the three occupants of the room, each time that they looked at each other they appeared with faces of a blue tone, with eyes fixed and glittering like live embers, and with pale lips and sunken cheeks; but the most fearful object of all was that of a plaster mask taken from the face of an intimate friend but lately dead, which, hanging near the window, let the light from the spirit fall upon its face, turned three parts towards them, which gave it a strange, vivid, and mocking expression. All people have felt the influence of large and dark rooms, such as Hoffmann has portrayed and Rembrandt has painted; and all the world has experienced those wild and unaccountable terrors - panics without a cause - which seize on one like a spontaneous fever, at the sight of objects to which a stray glimpse of the moon or a feeble ray from a lamp gives a mysterious form; nay, all, we should imagine, have at some period of their lives found themselves by the side of a friend, in a dark and dismal chamber, listening to some wild story, which so enchains them, that although the mere lighting of a candle could put an end to their terror, they would not do so; so much need has the human heart of emotions, whether they be true or false. So it was upon the evening mentioned. The conversation of the three companions never took a direct line, but followed all the phases of their thoughts; sometimes it was light as the smoke which curled from their cigars, then for a moment fantastic as the flame of the burning spirit, and then again dark, lurid, and sombre as the smile which lit up the mask from their dead friend's face. At last the conversation ceased altogether, and the respiration of the smokers was the only sound heard; and their cigars glowed in the dark, like Will-of-the-wisps brooding o'er a stagnant pool. It was evident to them all, that the first who should break the silence, even if he spoke in jest, would cause in the hearts of the others a start and tremor, for each felt that he had almost unwittingly plunged into a ghastly reverie. ("The Dead Man's Story")

Because,' he said, 'I sometimes have a queer feeling with regard to you, especially when you are near me, as now; it is as if I had a string somewhere under my left ribs, tightly and inextricably knotted to a similar string situation in the corresponding quarter of your little frame. And if that boisterous channel, and two hundred miles or so of land, come broad between us, I am afraid that cord of communion will be snapped; and the nI've a nervous notion I should take to bleeding inwardly. As for you, you'd forget me.' 'That I never would, sir; you know -,' impossible to proceed. [...] The vehemence of emotion, stirred by grief and love within me, was claiming mastery, and struggling for full sway and asserting a right to predominate - to overcome, to live, rise, and reign at last; yes, and to speak. 'I grieve to leave Thornfield; I love Thornfield; I love it, because I have lived in it a full and delightful life, momentarily at least. I have not been trampled on. I have not been petrified. I have not been buried with inferior minds, and excluded from every glimpse of communion with what is bright, and energetic, and high. I have talked, face to face, with what I reverence; with what I delight in, with an origin, a vigorous, and expanded mind. I have known you, Mr. Rochester; and it strikes me with terror and anguish to feel I absolutely must be torn from you forever. I see the necessity of departure; and it is like looking on the necessity of death.' 'Where do you see the necessity?' he asked, suddenly. 'Where? You, sir, have placed it before me.' 'In what shape?' 'In the shape of Miss Ingram; a noble and beautiful woman, your bride.' 'My bride! What bride? I have no bride!' 'But you will have.' 'Yes; I will! I will!' He set his teeth. 'Then I must go; you have said it yourself.' 'No; you must stay! I swear it, and the oath shall be kept.' 'I tell you I must go!' I retorted, roused to something like passion. 'Do you think I can stay to become nothing to you? Do you think I am an automation? a machine without feelings? and can bear to have my morsel of bread snatched from my lips, and my drop of living water dashed from my cup? Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? You think wrong! I have as much soul as you, and full as much heart! And if God had gifted me with some beauty, and much wealth, I should have made it hard for you to leave me, as it is now for me to leave you. I am not talking to you now through the medium of custom, conventionalities, nor even of mortal flesh; it is my spirit that addresses your spirits; just as if both had passed through the grace, and we stood at God's feel, equal - as we are!' 'As we are!' repeated Mr. Rochester - 'so,' he added, including me in his arms, gathering me to his breast, pressing his lips on my lips; 'so, Jane!' 'Yes, so, sir,' I rejoined; 'and yet not so; for you are a married man, or as good as a married man, and we'd to one inferior to you - to one with whom you have no sympathy - whom I do not believe you truly love; for I have seen and heard you sneer at her. I would scorn such a union; therefore I am better than you - let me go!' 'Where, Jane? to Ireland?' 'Yes - to Ireland. I have spoke my mind, and can go anywhere now.' 'Jane, be still; don't struggle so, like a wild, frantic bird that is tending its own plumage in its desperation.' 'I am no bird; and no net ensnares me; I am a free human being, with an independent will; which I now exert to leave you.' Another effort set me at liberty, and I stood erect before him. 'And your will shall decide your destiny,' he said; 'I offer you my hand, my heart, and a share of all my possessions.' 'You play a farce, which I merely taught at.' 'I ask you to pass through life at my side - to be my second self, and best earthly companion.' [...] 'Do you doubt me, Jane?' 'Entirely.' 'You have no faith in me?' 'Not a whit.