Subtle Romantic Quotes

You do not know what you are missing by your microscopic examination of sexual activity to the exclusion of aspects which are fuel that ignites it. Intellectual, imaginative, romantic, emotional. This is what gives sex its surprising textures, its subtle transformations, its aphrodisiac elements. You are shrinking your world of sensations. You are withering it, starving it, draining its blood.

A werewolf is courting me with a dead rabbit. There’s nothing subtle here.

Falling in love is a subtle process, a connection sparked by attraction, tested by compatibility, and forged by memory.

He couldn’t just come right out with it, could he? No, that would scare her off. He had to be subtle, build up to it. Explain himself. “I love you.” Of course, straight to the point was also an effective strategy.

Dear Collector: We hate you. Sex loses all its power and magic when it becomes explicit, mechanical, overdone, when it becomes a mechanistic obsession. It becomes a bore. You have taught us more than anyone I know how wrong it is not to mix it with emotion, hunger, desire, lust, whims, caprices, personal ties, deeper relationships that change its color, flavor, rhythms, intensities. "You do not know what you are missing by your micro-scopic examination of sexual activity to the exclusion of aspects which are the fuel that ignites it. Intellectual, imaginative, romantic, emotional. This is what gives sex its surprising textures, its subtle transformations, its aphrodisiac elements. You are shrinking your world of sensations. You are withering it, starving it, draining its blood. If you nourished your sexual life with all the excitements and adventures which love injects into sensuality, you would be the most potent man in the world. The source of sexual power is curiosity, passion. You are watching its little flame die of asphyxiation. Sex does not thrive on monotony. Without feeling, inventions, moods, no surprises in bed. Sex must be mixed with tears, laughter, words, promises, scenes, jealousy, envy, all the spices of fear, foreign travel, new faces, novels, stories, dreams, fantasies, music, dancing, opium, wine. How much do you lose by this periscope at the tip of your sex, when you could enjoy a harem of distinct and never-repeated wonders? No two hairs alike, but you will not let us waste words on a description of hair; no two odors, but if we expand on this you cry Cut the poetry. No two skins with the same texture, and never the same light, temperature, shadows, never the same gesture; for a lover, when he is aroused by true love, can run the gamut of centuries of love lore. What a range, what changes of age, what variations of maturity and innocence, perversity and art . . . We have sat around for hours and wondered how you look. If you have closed your senses upon silk, light, color, odor, character, temperament, you must be by now completely shriveled up. There are so many minor senses, all running like tributaries into the mainstream of sex, nourishing it. Only the united beat of sex and heart together can create ecstasy.

What?" he asked. "I don't know. Just thinking about flowers. And impressing people. I mean, how strange is it that we bring plant sex organs to people we're attracted to? What's up with that? It's a weird sign of affection." His dark eyes lit up, like he'd just discovered something surprising and delightful. "Is it any weirder than giving chocolate, which is supposed to be an aphrodisiac? Or what about wine? A 'romantic' drink that really just succeeds in lowering the other person's inhibitions." "Hmmm, It's like people are trying to be both subtle and blatant at the same time. Like, they won't actually go up and say, 'Hey, I like you, lets get together.' Instead, they're like, 'Here, have some plant genitalia and aphrodisiacs.

What do you want?" Peter chuckled, "Right now, to eat my lunch, just like you. Am I missing something here?" "I don't understand American boys, sometimes. I've learned English, but you people can use subtle meanings that elude me in what you say and do." "We're just sharing a table, eating lunch. There's nothing subtle about that." 

As a romantic ideal, turbulent, impoverished India could still weave its spell, and the key to it all - the colours, the moods, the scents, the subtle, mysterious light, the poetry, the heightened expectations, the kind of beauty that made your heart miss a beat - well, that remained the monsoon.

Our romantic lives are fated to be sad and incomplete, because we are creatures driven by two essential desires which point powerfully in entirely opposing directions. Yet what is worse is our utopian refusal to countenance the divergence, our naive hope that a cost-free synchronisation might somehow be found: that the libertine might live for adventure while avoiding loneliness and chaos. Or that the married Romantic might unite sex with tenderness, and passion with routine.” “Infatuations aren’t delusions. That way a person has of holding their head may truly indicate someone confident, wry and sensitive; they really may have the humour and intelligence implied by their eyes and the tenderness suggested by their mouth. The error of the infatuation is more subtle: a failure to keep in mind the central truth of human nature that everyone – not merely our current partners, in whose multiple failings we are such experts – but everyone will have something substantially and maddeningly wrong with them when we spend more time around them, something so wrong as to make a mockery of those initially rapturous feelings. The only people who can still strike us as normal are those we don’t yet know very well. The bet cure for love is to get to know them better.

I personally don't think grand gestures are actually romantic. The most romantic moments of my life have been so subtle and small. A snowstorm breakfast, a walk, an accidental meeting. Whenever you start planning these grand things, 'I'm gonna pick the great flower from the top of Mt. Everest', you're already losing. You're trying too hard.

How was she supposed to bear the prospect of never seeing him again? Never seeing his face light up simply because she had walked into the room? Never catching his eye in a crowd, feeling the subtle heat that came with standing alongside a man she knew wanted her more than any other?

Recall what used to be the theme of poetry in the romantic era. In neat verses the poet lets us share his private, bourgeois emotions: his sufferings great and small, his nostalgias, his religious or political pre-occupations, and, if he were English, his pipe-smoking reveries. On occasions, individual genius allowed a more subtle emanation to envelope the human nucleus of the poem - as we find in Baudelaire for example. But this splendour was a by-product. All the poet wished was to be a human being. When he writes, I believe today's poet simply wishes to be a poet.

Of course, one must always take into consideration the modestly of the lady. Too subtle and she may miss your meaning all together. Too strong, and she may never look you in the face again.

He firmly pulled her body against his and he brushed her lips with his. Staring into her eyes, he lightly slid his tongue across her bottom lip. She drew a deep, staggered breath in response to the wave of heat she felt flushing through her. Derrick smiled at her. Then, he softly kissed her. He lightly swept his tongue between her lips, pressing his warm, soft lips to hers. He slid his hands up her body and cradled her face with his hands. Then, he passionately kissed her, tickling her tongue with his. He sucked her lips, gently, as though he was sampling nectar on a delicate petal. Then, with an intense urgency, he dipped his tongue past her lips, caressing her tongue with his. She felt fluttering inside. Anne’s body craved him. A shallow hum escaped from within her in response to how he was making her feel. She could feel his body responding to her. He was breathing heavier which was waking Anne’s primal needs. The tidal wave of lust that had just churned within her was slowly calming as his kiss became more subtle and tender. He gently pressed his lips against hers. He pulled back a little and looked away, exhaling.

Assigning degrees of blame to betrayal is a difficult project, much like deciding which of two murderers has the more wicked heart. With murder, there are tangible distinctions. First degree is intentional; second degree, irresponsible; third degree, accidental. But with crimes of the heart, the distinctions are more subtle. Who is it to say when a secret turns into a sin? With a daydream, a kiss, a confession? Who is to say which transgression is worse: sexual or emotional, coveting or caressing?

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

The problem is that we’re finding out that romantic love is kind of like cocaine. Like, frighteningly similar to cocaine. Like, stimulates the exact same parts of your brain as cocaine. Like, gets you high and makes you feel good for a while but also creates as many problems as it solves, as does cocaine.

So, whose man parts are you setting on fire?" he asked, quirking an eyebrow.... "No one. I was just telling Belle about how I need to lose my virginity." Aaaaand, that did it. He froze, his arm dropping from Belle's shoulders as he took a not very subtle step toward the entryway. "I need to get the door." She picked up her tulip-shaped glass, fighting a grin. "I didn't hear the doorbell.

It was the answer to a question, soft and subtle, but it was there—the kind of feeling, this hope, that had just been hiding, waiting for some specter to take my hand and dance me across the floorboards. It felt, for a moment in time, like happiness.

The romantic personality is pervaded with a subtle mistrust of intellectualism, and this fact is often conducive to that immoral action called daydreaming. Contrary to belief, daydreaming is not an intellectual process but rather an escape from intellectualism...

Are you deliberately torturing me?” he growls. My heart kicks. Wild and unrhythmic. “Torturing you?” He raises the scotch, downing the contents in one fell swoop before returning the glass to his side. “You know exactly what I’m talking about.” There’s a warning in his voice. A delicious subtle threat. My throat tightens. My chest, too. Everything is so painfully, invigoratingly restricted that I have to fight hard to maintain level breathing. I raise my other leg, crossing both at the ankles against the rim of the tub. I shouldn’t be doing this. Warning bells ring in the farthest recesses of my mind. If only they were loud enough to put a stop to the craziness. “Join me.” His jaw ticks. That’s his only response. No movement. No words. “Matthew?” His features tighten, almost setting in a glower as he grates, “Be sure about this, Layla.” “I think I am,” I lie. I’m not even partially certain. I’m running on instinct alone. No, not instinct—infatuation.  “Then I’m staying where I am.” He crosses his arms over his chest, the glass moving to rest in the crook of his arm. “I’m on the precipice here. I can only pretend to be a stand-up guy for so long, then I’m going to start pushing my own agenda. So don’t play with me, amore mio.

MYTH: Erotica is vulgar and crude. There is a large stereotype about erotic content being vulgar and crude, however, this is not always the case. There are many different kinds of written erotica available – the stories can range from romantic and subtle to aggressive and outrageous. Not all erotica is created to stun and surprise – some erotica is created to help the reader explore parts of their sexuality they’ve never experienced before.

Intellectual, imaginative, romantic, emotional. This is what gives sex its surprising textures, its subtle transformations, its aphrodisiac elements. Sex loses all its power and magic when it becomes explicit, mechanical, overdone, when it becomes a mechanistic obsession. It becomes a bore. You are shrinking your world of sensations. You are withering it, starving it, draining its blood. If you nourished your sexual life with all the excitements and adventures which love injects into sensuality, you would be the most potent human being in the world. The source of sexual power is curiosity, passion. You are watching its little flame die of asphyxiation. Sex does not thrive on monotony. Sex must be mixed with tears, laughter, words, promises, scenes, jealousy, envy, all of the spices of fear, foreign travel, new faces, novels, stories, dreams, fantasies, music, dancing, opium, wine.

What the classical formalists meant by the objection “Quality is just what you like” was that this subjective, undefined “quality” he was teaching was just romantic surface appeal. Classroom popularity contests could determine whether a composition had immediate appeal, all right, but was this Quality? Was Quality something that you “just see” or might it be something more subtle than that, so that you wouldn’t see it at all immediately, but only after a long period of time?

The remoter poetry in particular was replete with effects, an effect being something hypnotic we cannot quite understand, whiteness of moon and wave related to the setting of Time in a manner "too subtle for the intellect." And all over Europe, by the late 19th century, poets had decided that effects were intrinsic to poetry, and were aiming at them by deliberate process. By the end of the century, in France, whole poems have been made "too subtle for the intellect," held together, as effects are, by the extra-semantic affinities of their words. Picking up a name that was once thrown around as their authors, we have learned to call them "Symbolist" poems. In the Symbolist poem the Romantic effect has become a structural principle, and we may say that Symbolism is scientific Romanticism, thus an effort to anticipate the work of time by aiming directly at the kind of existence a poem may have when a thousand years have deprived it of its dandelions and its mythologies, an existence purely linguistic, determined by the molecular bonds of half-understood words.

Sometimes guitar riffs get repeated over and over ("vamping," in the lingo of musicians), but generally there is a soloist proving variation that runs above that background, lest the song sound monotonous. Philip Glass's minimalist compositions (such as the soundtrack to 'Koyaanisqatsi') deviate from much of the classical music that preceded them, with much less obvious movement than, say, the Romantic-era compositions that his work seems to rebel against, yet his works, too, consist not only of extensive repetition but also of constant (though subtle) variation. Virtually every song you've ever heard consists of exactly that: themes that recur over and over, overlaid with variations.

... While much recent historicist criticism has assumed early nineteenth-century readers attuned to subtle ideological nuances in poetry, actual responses from readers often come closer to clulessness. ... It is no surprise that no one understood Blake, but other poets fared not much better. ... Coleridge's 'Christabel' was 'the standing enigma which puzzles the curiosity of literary circles. What is it all about?', while another reviewer asked about Shelley, 'What, in the name of wonder on one side, and of common sense on the other, is the meaning of this metaphysical rhapsody about the unbinding of Prometheus?'. Even Keats was condemned for 'his frequent obscurity and confusion of language' and his 'unintelligible quaintness'. Byron, never to be outdone, boasted in 'Don Juan' that not only did he not understand many of his fellow poets, he did not understand himself either: 'I don't pretend that I quite understand / My own meaning when I would be very fine.' ...

When you’re pursuing a wide breadth of experience, there are diminishing returns to each new adventure, each new person or thing. When you’ve never left your home country, the first country you visit inspires a massive perspective shift, because you have such a narrow experience base to draw on. But when you’ve been to twenty countries, the twenty-first adds little. And when you’ve been to fifty, the fifty-first adds even less. The same goes for material possessions, money, hobbies, jobs, friends, and romantic/sexual partners—all the lame superficial values people choose for themselves. The older you get, the more experienced you get, the less significantly each new experience affects you. The first time I drank at a party was exciting. The hundredth time was fun. The five hundredth time felt like a normal weekend. And the thousandth time felt boring and unimportant.

there is the third path. The path of Kvothe.” He strode to stand shoulder to shoulder with me, facing Fela. “You sense something between you. Something wonderful and delicate.” He gave a romantic, lovelorn sigh. “And, because you desire certainty in all things, you decide to force the issue. You take the shortest route. Simplest is best, you think.” Elodin extended his own hands and made wild grasping motions in Fela’s direction. “So you reach out and you grab this young woman’s breasts.” There was a burst of startled laughter from everyone except Fela and myself. I scowled. She crossed her arms in front of her chest and her flush spread down her neck until it was hidden by her shirt. Elodin turned his back to her and looked me in the eye. “Re’lar Kvothe,” he said seriously. “I am trying to wake your sleeping mind to the subtle language the world is whispering. I am trying to seduce you into understanding. I am trying to teach you.” He leaned forward until his face was almost touching mine. “Quit grabbing at my tits.

Memories of love She is the flower that blooms in every season, For me she is the logic and my life’s every reason, To serenade her for her beautiful ways, During the cold Winter nights and during the warm Summer days, When I lie vacant in my mind, There is nothing to ponder on and nothing new to find, And no thoughts pass by and everything seems unopposable, I think of you, your beautiful face and your ways loveable, Then something within me dies, something deep inside, Maybe it is the sense of time, sense of existence that no more is willing to reside, In this trepidation which brings grief, To be a languid moment on the fringes of life with no relief, And as this dead part of me buries itself within me, Under the aegis of your sweet memories I now live and see, Whatever life has to offer in its cyclic inventions of fate, While I live, moving like the needles of the clock, and ah the endless wait, So I reside in the hegemony of chance, And in my memories we forever romance, Which rise from the my half that is still alive, Still hopeful, still in love, still romantic, and that is where you and your memories thrive, They are the reason and that subtle force that makes my heart beat, That alive part of my heart where every heart throb only your name does repeat, And as I slide into the corner of my room, I let your memories and smiles on the walls, on the floor, over the windows to bloom, And I stare at this permanent Summer bliss, And these beautiful sights grow over me like a permanent kiss, Where I breathe you and you breathe me, And in the flowers hanging on the walls, sprouting from the floor, growing on the windows, your wonder I see, Then I spread the blanket of your memories, And I sleep with your smiles, with your kisses, and my silent mind unto the land of love ferries, Time may have neutralised my mind, But it has failed to prevent me from my heart’s desire to find, You in everything, in the skies, in the stars in the light and in the dark, And ah its pain, for from memories it has failed to remove any mark, For time that is the unruly mercenary of fate, Killed a part of me and thought now it is my final and insensate state, And as it galloped to erase my memories too, My dying heart beat said, “Irma I love you!” And the horse of time stumbled and fell, How, why maybe nobody can tell, And thus I ceased my moment and ran away with your memories, And now the chariot of time me and you together carries, Ahead of the time that chases me still and maybe forever, But it's fall granted me a lead of few moments newer, And when I tread on the highway of time, You and I my love, are always ahead of the weary horse of Worldly time, So let me spread the blanket of memories and let me sleep now, For I have to be with you, in the land where it is always now, And for the weary moments of worldly time let the circle around the walls of my room, Never to know that lovers live in a zone where it is a permanent summer, in its everlasting beauty’s bloom! The horse of time is worn out but my memories are as fresh as today, And my love Irma, it shall be so everyday!

Memories of love She is the flower that blooms in every season, For me she is the logic and my life’s every reason, To serenade her for her beautiful ways, During the cold Winter nights and during the warm Summer days, When I lie vacant in my mind, There is nothing to ponder on and nothing new to find, And no thoughts pass by and everything seems unopposable, I think of you, your beautiful face and your ways loveable, Then something within me dies, something deep inside, Maybe it is the sense of time, sense of existence that no more is willing to reside, In this trepidation which brings grief, To be a languid moment cast on the fringes of life with no relief, And as this dead part of me buries itself within me, Under the aegis of your sweet memories I now live and see, Whatever life has to offer in its cyclic inventions of fate, While I live, moving like the needles of the clock, and ah the endless wait, So I reside in the hegemony of chance, Yet in my memories we forever romance, Which arise from my half that is still alive, Still hopeful, still in love, still romantic, and that is where you and your memories thrive, They are the reason and that subtle force that makes my heart beat, That alive part of my heart where every heart throb only your name does repeat, And as I slide into the corner of my room, I let your memories and smiles on the walls, on the floor, over the windows to bloom, And I stare at this permanent Summer bliss, And these beautiful sights grow over me like a permanent kiss, Where I breathe you and you breathe me, And in the flowers hanging on the walls, sprouting from the floor, growing on the windows, your true wonder I see, Then I spread the blanket of your memories, And I sleep with your smiles, your kisses, and my silent mind unto the land of love ferries, Time may have neutralised my mind, But it has failed to prevent me from my heart’s desire to find, You in everything, in the skies, in the stars in the light and in the dark, And ah its pain, for from memories it has failed to remove any mark, For time that is the unruly mercenary of fate, Killed a part of me and thought now it is my final and insensate state, And as it galloped to erase my memories too, My dying heart beat said, “Irma I love you!” And the horse of time stumbled and fell, How, why, maybe nobody can tell, But I ceased my moment and ran away with your memories, And now the chariot of time both of us carries, Ahead of the time that chases me still and maybe forever, But it's fall granted me a lead of few moments newer, And when I tread on the highway of time, You and I my love, are always ahead of the weary horse of Worldly time, So let me spread the blanket of memories and let me sleep now, For I have to be with you, in the land where it is always now, And for the weary moments of worldly time let them circle around the walls of my room, Never to know that lovers live in a zone where it is a permanent summer, in its everlasting beauty’s bloom! The horse of time is worn out but my memories are as fresh as today, And my love Irma, it shall be so everyday!

Entitled people adopt these strategies in their relationships, as with everything, to help avoid accepting responsibility for their own problems. As a result, their relationships are fragile and fake, products of avoiding inner pain rather than embracing a genuine appreciation and adoration of their partner. This goes not just for romantic relationships, by the way, but also for family relationships and friendships. An overbearing mother may take responsibility for every problem in her children’s lives. Her own entitlement then encourages an entitlement in her children, as they grow up to believe other people should always be responsible for their problems. (This is why the problems in your romantic relationships always eerily resemble the problems in your parents’ relationship.)

In general, entitled people fall into one of two traps in their relationships. Either they expect other people to take responsibility for their problems: “I wanted a nice relaxing weekend at home. You should have known that and canceled your plans.” Or they take on too much responsibility for other people’s problems: “She just lost her job again, but it’s probably my fault because I wasn’t as supportive of her as I could have been. I’m going to help her rewrite her résumé tomorrow.” Entitled people adopt these strategies in their relationships, as with everything, to help avoid accepting responsibility for their own problems. As a result, their relationships are fragile and fake, products of avoiding inner pain rather than embracing a genuine appreciation and adoration of their partner. This goes not just for romantic relationships, by the way, but also for family relationships and friendships. An overbearing mother may take responsibility for every problem in her children’s lives. Her own entitlement then encourages an entitlement in her children, as they grow up to believe other people should always be responsible for their problems.

Most elements of romantic love that we pursue—the dramatic and dizzyingly emotional displays of affection, the topsy-turvy ups and downs—aren’t healthy, genuine displays of love. In fact, they’re often just another form of entitlement playing out through people’s relationships.

A spiritual path based on unverifiable ideas is stripped of any real accountability to the world we live in. If our spiritual path is not held accountable to the evidence of direct experience in the world, we have no real measuring stick for how our journey is progressing. At the extreme end of this spectrum, we might pay no attention to climate change because we are convinced the Rapture is coming soon. A more subtle instance of an unscientific spirituality might involve thinking that the number of compassion mantras we recite is more important than how well we treat our romantic partner.

I am not mad,” Cecily insisted, letting her butter knife clatter to her plate. “I know what I saw. I am not the sort of hysterical female who imagines things.” “Are you sure?” Luke sipped his coffee. “Are you certain you’re not exactly that sort of female? The type to harbor romantic illusions and cling to them for years, hoping they’ll one day become the truth?” Ah, if looks could fillet a man, Luke would have been breakfast. But he would rather have Cecily’s anger than her indifference, and for the first time in nine days, that was what he was sensing from her. Whatever, or whoever, she had encountered in the forest—be it man, animal, or something in-between—it had captured her imagination, and her loyalty as well. Those treasures that had so recently, if undeservedly, belonged to him. Not anymore. The way she defended her tale so stridently, the lively spark in her eyes, the fetching blush staining her throat . . . Luke felt these subtle signals like jabs to his gut. She was falling out of love with him. And fast. “I’ve

It was worse than she’d expected. “None?” she asked. “No fresh boot prints anywhere around the perimeter of the house,” Sheriff Coughlin confirmed. “It was windy last night. Maybe the drifting snow filled in the prints?” Even before she finished speaking, the sheriff was shaking his head. “With the warm temperatures we’ve been having, the snow is either frozen or wet and heavy. If someone had walked through that yard last night, there would’ve been prints.” Daisy hid her wince at his words, even though they hit as hard as an elbow to the gut, and struggled to keep her voice firm. “There was someone walking around the outside of that house last night, Sheriff. I don’t know why there aren’t any boot prints, but I definitely saw someone.” He was giving her that look again, but it was worse, because she saw a thread of pity mixed in with the condescension. “Have you given more thought to starting therapy again?” The question surprised her. “Not really. What does that have to do…?” As comprehension dawned, a surge of rage shoved out her bewilderment. “I didn’t imagine that I saw someone last night. There really was a person there, looking in the side window.” All her protest did was increase the pity in his expression. “It must get lonely here by yourself.” “I’m not making things up to get attention!” Her voice had gotten shrill, so she took a deep breath. “I even said there was no need for you to get involved. I only suggested one of the on-duty deputies drive past to scare away the kid.” “Ms. Little.” His tone made it clear that impatience had drowned out any feelings of sympathy. “Physical evidence doesn’t lie. No one was in that yard last night.” “I know what I saw.” The sheriff took a step closer. Daisy hated how she had to crane her neck back to look at him. It made her feel so small and vulnerable. “Do you really?” he asked. “Eyewitness accounts are notoriously unreliable. Even people without your issues misinterpret what they see all the time. The brain is a tricky thing.” Daisy set her jaw as she stared back at the sheriff, fighting the urge to step back, to retreat from the man looming over her. There had been someone there, footprints or no footprints. She couldn’t start doubting what she’d witnessed the night before. If she did, then that meant she’d gone from mildly, can’t-leave-the-house crazy, to the kind of crazy that involved hallucinations, medications, and institutionalization. There had to be some other explanation, because she wasn’t going to accept that. Not when her life was getting so much better. She could tell by looking at his expression that she wasn’t going to convince Coughlin of anything. “Thank you for checking on it, Sheriff. I promise not to bother you again.” Although he kept his face impassive, his eyes narrowed slightly. “If you…see anything else, Ms. Little, please call me.” That wasn’t going to happen, especially when he put that meaningful pause in front of “see” that just screamed “delusional.” Trying to mask her true feelings, she plastered on a smile and turned her body toward the door in a not-so-subtle hint for him to leave. “Of course.” Apparently, she needed some lessons in deception, since the sheriff frowned, unconvinced. Daisy met his eyes with as much calmness as she could muster, dropping the fake smile because she could feel it shifting into manic territory. She’d lost enough credibility with the sheriff as it was. The silence stretched until Daisy wanted to run away and hide in a closet, but she managed to continue holding his gaze. The memory of Chris telling her about the sheriff using his “going to confession” stare-down on suspects helped her to stay quiet. Finally, Coughlin turned toward the door. Daisy barely managed to keep her sigh of relief silent. “Ms. Little,” he said with a short nod, which she returned. “Sheriff.” Only when he was through the doorway with the door locked behind him did Daisy’s knees start to shake.

Later, as they sat at one another’s elbows, eating dinner at the employee house where they lived, Roan detected a subtle sense of happiness around Shiloh. Again, nothing obvious, but his operator’s senses told him that. “You said you were writing a chapter? On your latest book? The one that’s due to your editor’s desk?” “Yes.” She shrugged. “I woke up this morning WANTING to write for the first time since coming here.” She met his gray gaze, seeing interest in them. Roan, she was discovering, missed nothing. He listened to her without ever interrupting her flow of thought. “First time.” “Is this a good thing?” he wondered, adding more spoonfuls of whipped potatoes onto his plate. “Sure is,” she sighed, giving him a look of relief. “I’ve had writer’s block for the last six months. I just haven’t felt the driving passion to write.” She added some green beans onto her plate. “Ever since the stalker came into my life, my writing has turned off.” “Kind of expected?” “I suppose,” Shiloh muttered. “It’s hurt me in so many ways, seen and unseen.” “It’s what we in the military call psy ops or psychological warfare.

When I read and watch Donald Trump shrug off or Twitter away that global warming is a hoax, his brushoffs don’t have the fire and passion of other things he off-handedly rejects. It’s a good sign recognizable to anyone loving Geminis in his or her life. I have a dear elder brother who’s an intellectually vibrant Gemini. I’ve also delved deep into the romantic and psychological depths with a lover born under the sign of “The Twins.” Thus from long and first-hand experience I contend that I can correctly sense the moment a Gemini’s stance on something is going void of course. There’s a little less feistiness. A tone of indifference grows. I can detect the subtle disengagement growing in Trump’s voice. If I’m not being fooled that there isn’t a new descent into deeper disinterest, the change in tone foreshadows a Gemini minded man or woman is about to shift gears

The minute I dropped out I could stop taking the required classes that didn’t interest me, and begin dropping in on the ones that looked interesting. It wasn’t all romantic. I didn’t have a dorm room, so I slept on the floor in friends’ rooms, I returned coke bottles for the 5¢ deposits to buy food with, and I would walk the seven miles across town every Sunday night to get one good meal a week at the Hare Krishna temple. I loved it. And much of what I stumbled into by following my curiosity and intuition turned out to be priceless later on. Let me give you one example: Reed College at that time offered perhaps the best calligraphy instruction in the country. Throughout the campus every poster, every label on every drawer, was beautifully hand calligraphed. Because I had dropped out and didn’t have to take the normal classes, I decided to take a calligraphy class to learn how to do this. I learned about serif and san serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can’t capture, and I found it fascinating. None of this had even a hope of any practical application in my life. But ten years later, when we were designing the first Macintosh computer, it all came back to me. And we designed it all into the Mac. It was the first computer with beautiful typography. If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts. And since Windows just copied the Mac, it’s likely that no personal computer would have them. If I had never dropped out, I would have never dropped in on this calligraphy class, and personal computers might not have the wonderful typography that they do. Of course it was impossible to connect the dots looking forward when I was in college. But it was very, very clear looking backwards ten years later. Again, you can’t connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in something—your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life. The narrator of this story is Steve Jobs, the legendary CEO of Apple. The story was part of his famous Stanford commencement speech in 2005.[23] It’s a perfect illustration of how passion and purpose drive success, not the crossing of an imaginary finish line in the future. Forget the finish line. It doesn’t exist. Instead, look for passion and purpose directly in front of you. The dots will connect later, I promise—and so does Steve.

Industry people, I get it. I really get it. You, as a reader first and foremost, want to be courted by your love. Though you are labelled 'professional', and have had your area of interest dictated by income, you still want to be teased and fawned over – because you matter as well. You want to be whisked away and held captivated as you meander the world, together. A new book is not unlike a new romantic attraction. You want to take your new flame to the cozy little cafe and relax in a corner while you slowly unfurl the pages; fingertips slowly drawing circles on the well-formed words as you sip a deliciously aromatic coffee (or tea, if you prefer). You want to take your time and explore the intricacies and subtle interplay, with a good helping of magnetic curiosity.

If this sort of romantic love were cocaine, then as a culture we’d all be like Tony Montana in Scarface: burying our faces in a fucking mountain of it, screaming, “Say hello to my lee-tle friend!” The problem is that we’re finding out that romantic love is kind of like cocaine. Like, frighteningly similar to cocaine. Like, stimulates the exact same parts of your brain as cocaine. Like, gets you high and makes you feel good for a while but also creates as many problems as it solves, as does cocaine.

The following behaviors describe insufficient self-esteem. When you hear any of these behaviors, it’s very likely your client has a self-esteem theme. They believe they don’t deserve or are not good enough. They wind up believing the “inner voice” — the one that keeps telling them, “You aren’t good enough”; “You don’t know enough”; “That’s for other people, not for you”; “You couldn’t possibly succeed at that”; “You have no luck — don’t even bother trying.” A corresponding metaphor: It seems like everyone else has gone to the party while you’ve chosen to stay home wishing you had gone. They overcompensate. They take excessive measures, attempting to correct or make amends for an error, weakness, or problem. For example, one parent believes the other is too strict or too lenient and goes too far the other way to make up for it. They do things for other people to make themselves feel better. While it’s always nice to do things for other people, sometimes the motive is wanting to feel better about oneself versus simply helping someone else. They compromise on things they shouldn’t. They might let go of or give up on an idea or value to please someone else. They get into or stay in toxic relationships. Relationships — whether with those at work, with friends, or with romantic partners — can be damaging to our self-esteem. Yet because they devalue themselves, they rationalize and justify that it’s okay. They tolerate unacceptable behavior. Because they believe they aren’t good enough, they allow people to say and do mean or inappropriate things to them. When they stay stuck in the way they allow others to take advantage of them, it’s usually because there’s a subtle, underlying reason they want to keep the pain and anguish with them. They might think that they will get attention or feel important, or maybe feeling sorry or sad is more familiar and comfortable. They don’t believe they deserve to be treated well.

To a people, always prompt in its recognition of genius, and ready to sympathize in the joys and woes of a truly great artist, this work will be one of exceeding interest. It is a short, glowing, and generous sketch, from the hand of Franz Liszt, (who, considered in the double light of composer and performer, has no living equal,) of the original and romantic Chopin; the most ethereal, subtle, and delicate among our modern tone-poets. It is a rare thing for a great artist to write on art, to leave the passionate worlds of sounds or colors for the colder realm of words; rarer still for him to abdicate, even temporarily, his own throne, to stand patiently and hold aloft the blazing torch of his own genius, to illume the gloomy grave of another: yet this has Liszt done through love for Chopin.

The other factor in regaining trust after it’s been broken is a practical one: a track record. If someone breaks your trust, words are nice; but you then need to see a consistent track record of improved behavior. Only then can you begin trusting that the cheater’s values are now aligned properly and the person really will change. Unfortunately, building a track record for trust takes time—certainly a lot more time than it takes to break trust. And during that trust-building period, things are likely to be pretty shitty. So both people in the relationship must be conscious of the struggle they’re choosing to undertake. I use the example of cheating in a romantic relationship, but this process applies to a breach in any relationship. When trust is destroyed, it can be rebuilt only if the following two steps happen: 1) the trust-breaker admits the true values that caused the breach and owns up to them, and 2) the trust-breaker builds a solid track record of improved behavior over time. Without the first step, there should be no attempt at reconciliation in the first place. Trust is like a china plate. If you break it once, with some care and attention you can put it back together again. But if you break it again, it splits into even more pieces and it takes far longer to piece together again. If you break it more and more times, eventually it shatters to the point where it’s impossible to restore. There are too many broken pieces, and too much dust.

This, whether we admit it or not, is what romantic love is. In Tristan and Iseult the egotism, the use of each other to create the passion for its own sake, is so blatant, so naive, and so childlike that it is unmistakable. But our own versions of this are scarcely more subtle. It simply never enters our romantic heads that there is something strange about seeking a so-called “love” for the sake of my fulfillment, my thrills, my dreams coming true, my fantasy, my “need to be loved,” my ideal of the perfect love, my security, my entertainment.

However, the worst horrors of unhappy love should not blind us to the enrichment that may occur even in painful love. When the outcome of love is unhappy, the lover may nonetheless have experienced the liberating effects of love and be able to preserve the fruits of that liberation, whether in expanded creativity, enlarged insight, or a subtle internal re-ordering of personality. There are even instances in which an unrealized love has served as the organizing force in a creative life: Dante is the classic example. For some, the memory of a lost love may provide the sweetness of an entire life.

Unfortunately, building a track record for trust takes time—certainly a lot more time than it takes to break trust. And during that trust-building period, things are likely to be pretty shitty. So both people in the relationship must be conscious of the struggle they’re choosing to undertake. I use the example of cheating in a romantic relationship, but this process applies to a breach in any relationship. When trust is destroyed, it can be rebuilt only if the following two steps happen: 1) the trust-breaker admits the true values that caused the breach and owns up to them, and 2) the trust-breaker builds a solid track record of improved behavior over time. Without the first step, there should be no attempt at reconciliation in the first place. Trust is like a china plate. If you break it once, with some care and attention you can put it back together again. But if you break it again, it splits into even more pieces and it takes far longer to piece together again. If you break it more and more times, eventually it shatters to the point where it’s impossible to restore. There are too many broken pieces, and too much dust.

Most elements of romantic love that we pursue—the dramatic and dizzyingly emotional displays of affection, the topsy-turvy ups and downs—aren’t healthy, genuine displays of love. In fact, they’re often just another form of entitlement playing out through people’s relationships. I

Your negative emotions can also be controlled and directed. PMA and self-discipline can remove their harmful effects and make them serve constructive purposes. Sometimes fear and anger will inspire intense action. But you must always submit your negative emotions--and you positive ones--to the examination of your reason before releasing them. Emotion without reason is a dreadful enemy. 카톡☛ppt33☚ 〓 라인☛pxp32☚ 홈피는 친추로 연락주세요 팔팔정판매,팔팔정파는곳,팔팔정가격,팔팔정후기,팔팔정구입방법,팔팔정복용법,팔팔정부작용,팔팔정구입사이트,팔팔정구매사이트,팔팔정판매사이트 구구정가격,비아그라가격,시알리스가격,레비트라가격,아드레닌가격,센돔가격,비닉스가격,센트립가격 What faculty provides the crucial balance between emotions and reason? It is your willpower, or ego, a subject which will be explored in more detail below. Self-discipline will teach you to throw your willpower behind either reason or emotion and amplify the intensity of their expression. There are now even whole sections of bookshops given over to the new genre of "supernatural romance". Maybe it was ever thus. Dr Polidori, who wrote the very first vampire novel, The Vampyr, based his central character very much on his chief patient, Lord Byron, and the Byronic "mad, bad and dangerous to know" archetype has been at the centre of both romantic and blood-sucking fiction ever since. Dracula, Heathcliffe, Rochester, Darcy and not to mention chief vampire Bill in Channel 4's new series True Blood are all cut from the same cloth. Meyer even claims that she based her first Twilight book on Pride and Prejudice, although Robert Pattinson, who plays the lead in the movie version, looks like James Dean in Rebel Without A Cause. Either way, vampire = sexy rebel. No zombie is ever going to be a pinup on some young girl's wall. Just as Pattinson and all the Darcy-alikes will never find space on any teenage boy's bedroom walls – every inch will be plastered with revolting posters of zombies. There are no levels of Freudian undertone to zombies. Like boys, they're not subtle. There's nothing sexual about them, and nothing sexy either.

Be good to everyone who becomes attached to us; cherish every friend who is by our side; 카톡☛ppt33☚ 〓 라인☛pxp32☚ 홈피는 친추로 연락주세요 love everyone who walks into our life.It must be fate to get acquainted in a huge crowd of people... 비닉스구입,비닉스구매,비닉스판매,비닉스가격,비닉스파는곳,비닉스팝니다,비닉스구입방법,비닉스구매방법,비닉스복용법 I feel, the love that Osho talks about, maybe is a kind of pure love beyond the mundane world, which is full of divinity and caritas, and overflows with Buddhist allegorical words and gestures, 아무런 말없이 한번만 찾아주신다면 뒤로는 계속 단골될 그런 자신 있습니다.저희쪽 서비스가 아니라 제품에대해서 자신있다는겁니다 팔팔정,구구정,네노마정,프릴리지,비맥스,비그알엑스,엠빅스,비닉스,센트립 등 많은 제품 취급합니다 확실한 제품만 취급하는곳이라 언제든 연락주세요 Zombie stories are life lessons for boys who don't mind thinking about bodies, but can't cope with emotions. Vampire stories are in many ways sex for the squeamish. We don't need Raj Persaud to tell us that plunging canines into soft warm necks, or driving stakes between heaving bosoms, are very basic sexual metaphors. 비아그라파는곳,시알리스파는곳,레비트라파는곳,엠빅스파는곳,센트립파는곳,센돔파는곳,카마그라젤파는곳,남성정력제파는곳,네노마정파는곳 There are now even whole sections of bookshops given over to the new genre of "supernatural romance". Maybe it was ever thus. Dr Polidori, who wrote the very first vampire novel, The Vampyr, based his central character very much on his chief patient, Lord Byron, and the Byronic "mad, bad and dangerous to know" archetype has been at the centre of both romantic and blood-sucking fiction ever since. Dracula, Heathcliffe, Rochester, Darcy and not to mention chief vampire Bill in Channel 4's new series True Blood are all cut from the same cloth. Meyer even claims that she based her first Twilight book on Pride and Prejudice, although Robert Pattinson, who plays the lead in the movie version, looks like James Dean in Rebel Without A Cause. Either way, vampire = sexy rebel. No zombie is ever going to be a pinup on some young girl's wall. Just as Pattinson and all the Darcy-alikes will never find space on any teenage boy's bedroom walls – every inch will be plastered with revolting posters of zombies. There are no levels of Freudian undertone to zombies. Like boys, they're not subtle. There's nothing sexual about them, and nothing sexy either.

By comparison with our ideas of liberation, emancipation and individual autonomy, which exhaust themselves chasing their own shadows, how much more subtle, and proud at the same time, is the idea, which still survives in oriental wisdom, that someone else has control over your life, is planning it, determining it, satisfying it, according to the terms of an electoral pact by which you agree to stand down, when things are going against you, from something which, in any case, does not belong to you and which it is much more pleasant to enjoy without constantly having to take responsibility for it at every waking moment. There is nothing to prevent you, in return, from looking after someone else’s life—something people are often more skilled at than looking after their own—and so on, from one person to the next, with each of us being relieved of the burden of living, truly free and no longer exposed to their own madness, but only to the ritual or romantic intervention of the other in the process of their own life. The ultimate achievement is to live beyond the end, by any means whatever.

Our current preoccupation with zombies and vampires is easy to explain. They're two sides of the same coin, addressing our fascination with sex, death and food. They're both undead, they both feed on us, they both pass on some kind of plague and they can both be killed with specialist techniques – a stake through the heart or a disembraining. But they seem to have become polarised. Vampires are the undead of choice for girls, and zombies for boys. Vampires are cool, aloof, beautiful, brooding creatures of the night. Typical moody teenage boys, basically. Zombies are dumb, brutal, ugly and mindlessly violent. Which makes them also like typical teenage boys, I suppose. 카톡►ppt33◄ 〓 라인►pxp32◄ 홈피는 친추로 연락주세요 발기부족으로 삽입시 조루증상 그리고 여성분 오르가즘늦기지 못한다 또한 페니션이 작다고 느끼는분들 이쪽으로 보세요 팔팔정,구구정,비닉스,센트립,네노마정,프릴리지,비맥스,비그알엑스 등 아주 많은 좋은제품들 취급하고 단골님 모시고 있는곳입니다.원하실경우 언제든 연락주세요 Zombie stories are life lessons for boys who don't mind thinking about bodies, but can't cope with emotions. Vampire stories are in many ways sex for the squeamish. We don't need Raj Persaud to tell us that plunging canines into soft warm necks, or driving stakes between heaving bosoms, are very basic sexual metaphors. There are now even whole sections of bookshops given over to the new genre of "supernatural romance". Maybe it was ever thus. Dr Polidori, who wrote the very first vampire novel, The Vampyr, based his central character very much on his chief patient, Lord Byron, and the Byronic "mad, bad and dangerous to know" archetype has been at the centre of both romantic and blood-sucking fiction ever since. Dracula, Heathcliffe, Rochester, Darcy and not to mention chief vampire Bill in Channel 4's new series True Blood are all cut from the same cloth. Meyer even claims that she based her first Twilight book on Pride and Prejudice, although Robert Pattinson, who plays the lead in the movie version, looks like James Dean in Rebel Without A Cause. Either way, vampire = sexy rebel. No zombie is ever going to be a pinup on some young girl's wall. Just as Pattinson and all the Darcy-alikes will never find space on any teenage boy's bedroom walls – every inch will be plastered with revolting posters of zombies. There are no levels of Freudian undertone to zombies. Like boys, they're not subtle. There's nothing sexual about them, and nothing sexy either.

to remember this in a country that has long been mesmerized by the romantic figure of ‘the renouncer’, even before the Buddha came along.6 My mother, however, was spot on in recognizing ‘my third stage melancholy’. During my second stage, I had felt as though I was waking up each morning, going to work, and feeding my family—only to repeat it the following day, as my children would after me and their children after them. What was the point of it all? Now in my third stage, I wanted to find a better way to live. Meanwhile, my friends and acquaintances were incredulous. ‘So, what is this I hear about wanting to go away to read old books?’ one asked me at a dinner party. ‘Don’t tell me you are going to turn religious on us!’ exclaimed another. My wife began to explain my idea of an ‘academic holiday’ to some of the guests, who reciprocated with suitable looks of sympathy. ‘Tell us, what books are you planning to read?’ asked a retired civil servant. A self-proclaimed ‘leftist and secularist’, who had once been a favourite of former prime minister Indira Gandhi, he had the gruff, domineering accent of an English aristocrat, not surprising in a former civil servant of the old school. I admitted reluctantly that I had been thinking of reading the Mahabharata, the Manusmriti, the Kathopanishad perhaps, and ... ‘Good Lord, man!’ he exclaimed. ‘You haven’t turned saffron, have you?’ The remark upset me. Saffron is, of course, the colour of Hindu right-wing nationalism, and I wondered what sort of secularism is it that regards the reading of Sanskrit texts as a political act. I was disturbed that I had to fear the intolerance of my ‘secular’ friends as much as the bigotry of the Hindu Right, which had become a force in Indian politics over the past two decades with the rise of the Bharatiya Janata Party.