Superb Inspirational Quotes

Tell all the Truth but tell it slant-- Success in Circuit lies Too bright for our infirm Delight The Truth's superb surprise As Lightning to the Children eased With explanation kind The Truth must dazzle gradually Or every man be blind--

Dearest Fear: Creativity and I are about to go on a road trip together. I understand you’ll be joining us, because you always do. I acknowledge that you believe you have an important job to do in my life, and that you take your job seriously. Apparently your job is to induce complete panic whenever I’m about to do anything interesting—and, may I say, you are superb at your job. So by all means, keep doing your job, if you feel you must. But I will also be doing my job on this road trip, which is to work hard and stay focused. And Creativity will be doing its job, which is to remain stimulating and inspiring. There’s plenty of room in this vehicle for all of us, so make yourself at home, but understand this: Creativity and I are the only

Naturally occurring timeless awareness—utterly lucid awakened mind— is something marvelous and superb, primordially and spontaneously present. It is the treasury from which comes the universe of appearances and possibilities, whether of samsara or nirvana. Homage to the unwavering state, free of elaborations.

Please don't entertain for a moment the utterly mistaken idea that there is no drudgery in writing. There is a great deal of drudgery in even the most inspired, the most noble, the most distinguished writing. Read what the great ones have said about their jobs; how they never sit down to their work without a sigh of distress and never get up from it witout a sigh of relief. Do you imagine that your Muse is forever flamelike -- breathing the inspired word, the wonderful situation, the superb solution into your attentive ear? ... Believe me, my poor boy, if you wait for inspiration in our set-up, you'll wait for ever.

I even have a welcoming speech prepared for fear, which I deliver right before embarking upon any new project or big adventure. It goes something like this: “Dearest Fear: Creativity and I are about to go on a road trip together. I understand you’ll be joining us, because you always do. I acknowledge that you believe you have an important job to do in my life, and that you take your job seriously. Apparently your job is to induce complete panic whenever I’m about to do anything interesting—and, may I say, you are superb at your job. So by all means, keep doing your job, if you feel you must. But I will also be doing my job on this road trip, which is to work hard and stay focused. And Creativity will be doing its job, which is to remain stimulating and inspiring. There’s plenty of room in this vehicle for all of us, so make yourself at home, but understand this: Creativity and I are the only ones who will be making any decisions along the way. I recognize and respect that you are part of this family, and so I will never exclude you from our activities, but still—your suggestions will never be followed. You’re allowed to have a seat, and you’re allowed to have a voice, but you are not allowed to have a vote. You’re not allowed to touch the road maps; you’re not allowed to suggest detours; you’re not allowed to fiddle with the temperature. Dude, you’re not even allowed to touch the radio. But above all else, my dear old familiar friend, you are absolutely forbidden to drive.

If life is a song, you must be the superb lyrics to a sweet melody.

Vaunting ambition can be a terrible thing, but if allied to great ability – a protean energy, grand purpose, the gift of oratory, near-perfect recall, superb timing, inspiring leadership – it can bring about extraordinary outcomes.

To many, I was myth incarnate, the embodiment of a most superb legend, a fairy tale. Some considered me a monster, a mutation. To my great misfortune, I was once mistaken for an angel. To my mother, I was everything. To my father, nothing at all.

You can't wait for inspiration. You have to go after it with a club. I would rather be a superb meteor, every atom of me in magnificent glow, than a sleepy and permanent planet. I'd rather sing one wild song and burst my heart with it, than live a thousand years watching my digestion and being afraid of the wet.

The Desire To Paint" Unhappy perhaps is the man, but happy the artist, who is torn with this desire. I burn to paint a certain woman who has appeared to me so rarely, and so swiftly fled away, like some beautiful, regrettable thing the traveller must leave behind him in the night. It is already long since I saw her. She is beautiful, and more than beautiful: she is overpowering. The colour black preponderates in her; all that she inspires is nocturnal and profound. Her eyes are two caverns where mystery vaguely stirs and gleams; her glance illuminates like a ray of light; it is an explosion in the darkness. I would compare her to a black sun if one could conceive of a dark star overthrowing light and happiness. But it is the moon that she makes one dream of most readily; the moon, who has without doubt touched her with her own influence; not the white moon of the idylls, who resembles a cold bride, but the sinister and intoxicating moon suspended in the depths of a stormy night, among the driven clouds; not the discreet peaceful moon who visits the dreams of pure men, but the moon torn from the sky, conquered and revolted, that the witches of Thessaly hardly constrain to dance upon the terrified grass. Her small brow is the habitation of a tenacious will and the love of prey. And below this inquiet face, whose mobile nostrils breathe in the unknown and the impossible, glitters, with an unspeakable grace, the smile of a large mouth ; white, red, and delicious; a mouth that makes one dream of the miracle of some superb flower unclosing in a volcanic land. There are women who inspire one with the desire to woo them and win them; but she makes one wish to die slowly beneath her steady gaze.

And yet the king and his people did not love McAllister. In truth, they hated him horribly, and, to my knowledge, the whole population, with the priests at the head, tried vainly for three months to pray him to death. The devil-devils they sent after him were awe-inspiring, but since McAllister did not believe in devil-devils, they were without power over him. With drunken Scotchmen all signs fail. They gathered up scraps of food which had touched his lips, an empty whiskey bottle, a cocoanut from which he had drunk, and even his spittle, and performed all kinds of deviltries over them. But McAllister lived on. His health was superb. He never caught fever; nor coughs nor colds; dysentery passed him by; and the malignant ulcers and vile skin diseases that attack blacks and whites alike in that climate never fastened upon him. He must have been so saturated with alcohol as to defy the lodgment of germs. I used to imagine them falling to the ground in showers of microscopic cinders as fast as they entered his whiskey-sodden aura. No one loved him, not even germs, while he loved only whiskey, and still he lived.

Generally the things that we value most when we are in our twenties, thirties and forties become the things we value least at the end of our lives. And all those things that so many among us currently value least, like deep human connections, random acts of kindness, being in superb physical condition, devoting ourselves to excellence in our work, creating a legacy and carving out time each day to work on ourselves so that the best within us shines, will—in the end—reveal themselves to be most valuable.

no longer regarded myself as a simple general,’ Napoleon later said of his victory, ‘but as a man called upon to decide the fate of peoples. It came to me then that I really could become a decisive actor on our national stage. At that point was born the first spark of high ambition.’51 He repeated this to so many different people on so many different occasions throughout his life that Lodi really can be taken as a watershed moment in his career. Vaunting ambition can be a terrible thing, but if allied to great ability – a protean energy, grand purpose, the gift of oratory, near-perfect recall, superb timing, inspiring leadership – it can bring about extraordinary outcomes.

The highest use of the great masters of literature is not literary; it is apart from their superb style and even from their emotional inspiration. The first use of good literature is that it prevents a man from being merely modern. To be merely modern is to condemn oneself to an ultimate narrowness; just as to spend one’s last earthly money on the newest hat is to condemn oneself to the old-fashioned. The road of the ancient centuries is strewn with dead moderns. Literature, classic and enduring literature, does its best work in reminding us perpetually of the whole round of truth and balancing other and older ideas against the ideas to which we might for a moment be prone.

The definition of superb animation is that each character on the screen makes you believe it is a thinking being. Whether it’s a T-Rex or a slinky dog or a desk lamp, if viewers sense not just movement but intention—or, put another way, emotion—then the animator has done his or her job. It’s not just lines on paper anymore; it’s a living, feeling entity. This is what I experienced that night, for the first time, as I watched Donald leap off the page. The transformation from a static line drawing to a fully dimensional, animated image was sleight of hand, nothing more, but the mystery of how it was done—not just the technical process but the way the art was imbued with such emotion—was the most interesting problem I’d ever considered. I wanted to climb through the TV screen and be part of this world.

G. Stanley Hall, a creature of his times, believed strongly that adolescence was determined – a fixed feature of human development that could be explained and accounted for in scientific fashion. To make his case, he relied on Haeckel's faulty recapitulation idea, Lombroso's faulty phrenology-inspired theories of crime, a plethora of anecdotes and one-sided interpretations of data. Given the issues, theories, standards and data-handling methods of his day, he did a superb job. But when you take away the shoddy theories, put the anecdotes in their place, and look for alternate explanations of the data, the bronze statue tumbles hard. I have no doubt that many of the street teens of Hall's time were suffering or insufferable, but it's a serious mistake to develop a timeless, universal theory of human nature around the peculiarities of the people of one's own time and place.

Alice's Cutie Code TM Version 2.1 - Colour Expansion Pack (aka Because this stuff won’t stop being confusing and my friends are mean edition) From Red to Green, with all the colours in between (wait, okay, that rhymes, but green to red makes more sense. Dang.) From Green to Red, with all the colours in between Friend Sampling Group: Fennie, Casey, Logan, Aisha and Jocelyn Green  Friends’ Reaction: Induces a minimum amount of warm and fuzzies. If you don’t say “aw”, you’re “dead inside”  My Reaction: Sort of agree with friends minus the “dead inside” but because that’s a really awful thing to say. Puppies are a good example. So is Walter Bishop. Green-Yellow  Friends’ Reaction: A noticeable step up from Green warm and fuzzies. Transitioning from cute to slightly attractive. Acceptable crush material. “Kissing.”  My Reaction: A good dance song. Inspirational nature photos. Stuff that makes me laugh. Pairing: Madison and Allen from splash Yellow  Friends’ Reaction: Something that makes you super happy but you don’t know why. “Really pretty, but not too pretty.” Acceptable dating material. People you’d want to “bang on sight.”  My Reaction: Love songs for sure! Cookies for some reason or a really good meal. Makes me feel like it’s possible to hold sunshine, I think. Character: Maxon from the selection series. Music: Carly Rae Jepsen Yellow-Orange  Friends’ Reaction: (When asked for non-sexual examples, no one had an answer. From an objective perspective, *pushes up glasses* this is the breaking point. Answers definitely skew toward romantic or sexual after this.)  My Reaction: Something that really gets me in my feels. Also art – oil paintings of landscapes in particular. (What is with me and scenery? Maybe I should take an art class) Character: Dean Winchester. Model: Liu Wren. Orange  Friends’ Reaction: “So pretty it makes you jealous. Or gay.”  “Definitely agree about the gay part. No homo, though. There’s just some really hot dudes out there.”(Feenie’s side-eye was so intense while the others were answering this part LOLOLOLOLOL.) A really good first date with someone you’d want to see again.  My Reaction: People I would consider very beautiful. A near-perfect season finale. I’ve also cried at this level, which was interesting. o Possible tie-in to romantic feels? Not sure yet. Orange-Red  Friends’ Reaction: “When lust and love collide.” “That Japanese saying ‘koi no yokan.’ It’s kind of like love at first sight but not really. You meet someone and you know you two have a future, like someday you’ll fall in love. Just not right now.” (<-- I like this answer best, yes.) “If I really, really like a girl and I’m interested in her as a person, guess. I’d be cool if she liked the same games as me so we could play together.”  My Reaction: Something that gives me chills or has that time-stopping factor. Lots of staring. An extremely well-decorated room. Singers who have really good voices and can hit and hold superb high notes, like Whitney Houston. Model: Jasmine Tooke. Paring: Abbie and Ichabod from Sleepy Hollow o Romantic thoughts? Someday my prince (or princess, because who am I kidding?) will come? Red (aka the most controversial code)  Friends’ Reaction: “Panty-dropping levels” (<-- wtf Casey???).  “Naked girls.” ”Ryan. And ripped dudes who like to cook topless.”  “K-pop and anime girls.” (<-- Dear. God. The whole table went silent after he said that. Jocelyn was SO UNCOMFORTABLE but tried to hide it OMG it was bad. Fennie literally tried to slap some sense into him.)  My Reaction: Uncontrollable staring. Urge to touch is strong, which I must fight because not everyone is cool with that. There may even be slack-jawed drooling involved. I think that’s what would happen. I’ve never seen or experienced anything that I would give Red to.

Dearest Fear: Creativity anI are about to go on a road trip together. I understand you'll be joining us, because you always do. I acknowledge that you believe you have an important job to do in my life, and that you take your job seriously. Apparently your job is to inducecomplete panic whenever I'm about to do anything interesting – and, may I say, you are superb at your job. So by all means, keep doing your job, if you feel you must. But I will also be doing my job on this road trip, which is to work hard and stay focused. And Creativity will be doing its job, which is to remain stimulating and inspiring. There's plenty of room in this vehicle for all of us, so make yourself at home, but understand this: Creativity and I are the only two who will be making any decisions along this way. I recognize and respect that you are part of this family, and so I will never exclude you from activities, but still – your suggestions will never be followed. You're allowed to have a seat, and you're allowed to have a voice, but you're not allowed to have a vote. You're not allowed to touch the road maps; you're not allowed to fiddle with temperature. Dude, you're not even allowed to touch the radio. But above all else, my dear old familiar friend, you're absolutely forbidden to drive.

An implicit assumption in many normative debates is that private solutions cannot be relied upon for complex problems. Can private governance facilitate cooperation in sophisticated transactions, in large groups, in heterogeneous populations, under conditions of anonymity, or across long distances? Or will problems such as free riding and prisoners’ dilemmas lead to market failure? All of these are empirical questions whose answers are usually assumed rather than investigated. Yet mechanisms of private governance are far more ubiquitous and far more powerful than commonly assumed. Mechanisms of private governance work in small and large groups, among friends and strangers, in ancient and modern societies, and for simple and extremely complex transactions. They often exist alongside, and in many cases in spite of, government legal efforts, and most of the time they are totally missed. The more that private governance solves problems behind the scenes, the more people overlook it and misattribute order to the state. Milton Friedman, for example, recognizes that private rule enforcement could work, but considers it rare: “I look over history, and outside of perhaps Iceland, where else can you find any historical examples of that kind of a system developing?” (Doherty and Friedman, 1995).3 After reading this book, I hope Friedman would answer instead that private order is all around us. Private governance is everywhere and responsible for creating order not just in basic markets but also in the world’s most sophisticated markets, including futures and advanced derivatives markets. If the success of private governance were limited to the examples in this book, the track record should be rated superb. Yet they are a fraction of what has worked and will work in the future. I hope this research inspires others to document some of the countless mechanisms that have made markets as robust as they are. Research in private governance not only

Dearest Fear: Creativity and I are about to go on a road trip together. I understand you’ll be joining us, because you always do. I acknowledge that you believe you have an important job to do in my life, and that you take your job seriously. Apparently your job is to induce complete panic whenever I’m about to do anything interesting—and, may I say, you are superb at your job. So by all means, keep doing your job, if you feel you must. But I will also be doing my job on this road trip, which is to work hard and stay focused. And Creativity will be doing its job, which is to remain stimulating and inspiring. There’s plenty of room in this vehicle for all of us, so make yourself at home, but understand this: Creativity and I are the only ones who will be making any decisions along the way. I recognize and respect that you are part of this family, and so I will never exclude you from our activities, but still—your suggestions will never be followed. You’re allowed to have a seat, and you’re allowed to have a voice, but you are not allowed to have a vote. You’re not allowed to touch the road maps; you’re not allowed to suggest detours; you’re not allowed to fiddle with the temperature. Dude, you’re not even allowed to touch the radio. But above all else, my dear old familiar friend, you are absolutely forbidden to drive.

Ce qu'il y a de brutal et d'exemplaire chez Rimbaud, c'est qu'il rend la vie inutile. Inutilisable. Toute lecture, toute ambition intellectuelle, hors de question. Puisqu'un Rimbaud est possible, tout est vain. Il arrive et il parle. Et sa parole est un chant. Et ce chant implique tous les chants possibles. Et les annule. L'expérience, la durée, l'homme sont ici mis en déroute. Il renverse toutes les lois, en imposant la loi qui est et reste le haut fait d'être ce que l'on est. Il ne vit que par raccroc, il respire parce qu'il faut bien. Et peu importe alors ce qu'il va faire de cette vie dérisoire. Sa poche d'ignorance, d'inspiration est préservée. Il rend à ce qu'on nomme la vie le suprême hommage, qui consiste à opérer comme si l'on n'avait que faire de ce qu'elle laisse espérer. Héritier milliardaire qui vivrait comme si ce trésor ne lui était de rien. Superbe mépris. Il rendra la cassette pleine, sans même s'être soucié d'en vérifier les richesses. Antiphilosophe extrême qui respecte aussi peu la mort que la vie. Il avance oreilles bouchées, lèvres closes, muet jusqu'au rire; oui, proprement angélique. Brûlant toutes ses cartes sans calcul, sans préméditation, sans plaisir. Il est ce qu'il est et fait ce qu'il fait. Le secret de Rimbaud, c'est l'évidence. Un rien de présence déplacée et c'en était fait. Il réussissait ou il échouait. Alors que son destin n'est pas qualifiable. Est le présent même.

Despite mournful envy and Dejected wrath, We bask under blue skies, Bewitching stars, And mystical moons, Loving rumbles of thunder, Glistening raindrops, And a hazy peaceful sunrise. In the face of Sorrowful greed, We delight in magnificent mountains, Bountiful oceans, Turquoise lagoons, Beautiful blossoms, And the green, green grass Of springtime. Through raging anger, Aching sadness, We treasure radiant sunsets, Seek marble courtyards, Ancient architecture, And splendid arched bridges. We sing the praises of Breathtaking falls. Even crushed And bewildered, We are captivated by Exquisite winged creatures, Tropical forests, And the critters we nurture. We embrace the power in our divinity And the superb magic of everything. With every threat to the world We belong to And embrace, We revel in books and dreams. We’re mesmerized by Otherworldly visions And plentiful hues. We cherish The light in ever-curious Truth seekers, And are ever grateful For smiles, Rapturous affection, Laughter, And love.

apparent. To counter apathy, most change agents focus on presenting an inspiring vision of the future. This is an important message to convey, but it’s not the type of communication that should come first. If you want people to take risks, you need first to show what’s wrong with the present. To drive people out of their comfort zones, you have to cultivate dissatisfaction, frustration, or anger at the current state of affairs, making it a guaranteed loss. “The greatest communicators of all time,” says communication expert Nancy Duarte—who has spent her career studying the shape of superb presentations—start by establishing “what is: here’s the status quo.” Then, they “compare that to what could be,” making “that gap as big as possible.” We can see this sequence in two of the most revered speeches in American history. In his famous inaugural address, President Franklin D. Roosevelt opened by acknowledging the current state of affairs. Promising to “speak the whole truth, frankly and boldly,” he described the dire straits of the Great Depression, only then turning to what could be, unveiling his hope of creating new jobs and forecasting, “This great nation . . . will revive and will prosper. . . . The only thing we have to fear is fear itself.” When we recall Martin Luther King, Jr.’s, epic speech, what stands out is a shining image

To counter apathy, most change agents focus on presenting an inspiring vision of the future. This is an important message to convey, but it’s not the type of communication that should come first. If you want people to take risks, you need first to show what’s wrong with the present. To drive people out of their comfort zones, you have to cultivate dissatisfaction, frustration, or anger at the current state of affairs, making it a guaranteed loss. “The greatest communicators of all time,” says communication expert Nancy Duarte—who has spent her career studying the shape of superb presentations—start by establishing “what is: here’s the status quo.” Then, they “compare that to what could be,” making “that gap as big as possible.” We can see this sequence in two of the most revered speeches in American history. In his famous inaugural address, President Franklin D. Roosevelt opened by acknowledging the current state of affairs. Promising to “speak the whole truth, frankly and boldly,” he described the dire straits of the Great Depression, only then turning to what could be, unveiling his hope of creating new jobs and forecasting, “This great nation . . . will revive and will prosper. . . . The only thing we have to fear is fear itself.” When we recall Martin Luther King, Jr.’s, epic speech, what stands out is a shining image of a brighter future. Yet in his 16-minute oration, it wasn’t until the eleventh minute that he first mentioned his dream. Before delivering hope for change, King stressed the unacceptable conditions of the status quo. In his introduction, he pronounced that, despite the promise of the Emancipation Proclamation, “one hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination.” Having established urgency through depicting the suffering that was, King turned to what could be: “But we refuse to believe that the bank of justice is bankrupt.” He devoted more than two thirds of the speech to these one-two punches, alternating between what was and what could be by expressing indignation at the present and hope about the future. According to sociologist Patricia Wasielewski, “King articulates the crowd’s feelings of anger at existing inequities,” strengthening their “resolve that the situation must be changed.” The audience was only prepared to be moved by his dream of tomorrow after he had exposed the nightmare of today.

People who feel superb about themselves generate superb results. Self-respect is a beautiful thing.

Love ignites soul with the superb light.

SHE RESEARCHED WHEN everyone slept. In the dead silence, her mind worked with more clarity. No interruptions, no worries. Sometimes she even imagined that her ancestors guided her. That they reached out from the past to share their stories. “Hocus Pocus!” she thought, smiling. Her inside joke was a source of inspiration. But her imagination was not far-fetched. My second cousin, twice removed, is a family historian. She is also a lawyer. And this is why I chose her. I needed her to do me a favor. I chose her, although she is a business lawyer and not a criminal lawyer. That was fine by me. It’s not like my lawyers did a superb job at defending me. I was wrongfully executed.

The virtue it makes of its deliberately limited online component is a superb riposte to the current unthinking desperation to make everything “social” in a Twitface sense. (I recently read an article wondering how we could make books “more social”. Seriously, shut up: books have always been social.) And perhaps the most interesting aspect of Journey’s reception has been the sheer quantity of writing it has inspired, thus refuting again the mainstream prejudice that videogames and literacy are opposed.

Le Major parait d'un "prédateur". Le mot me gène. Je finirai par m'en accommoder, faute de mieux, mais il évoque les grands fauves, là où je ne vois que la petitesse de la répétition compulsive. Il est du côté de l'animalité, de la déshumanisation. Je n'ai pas été violée par un animal mais par un homme superbement intégré à la communauté. J'ai du mal à me considérer comme un gibier pourchassé.

Great things come with great smile. Wear it more !

Dearest Fear: Creativity and I are about to go on a road trip together. I understand you’ll be joining us, because you always do. I acknowledge that you believe you have an important job to do in my life, and that you take your job seriously. Apparently your job is to induce complete panic whenever I’m about to do anything interesting—and, may I say, you are superb at your job. So by all means, keep doing your job, if you feel you must. But I will also be doing my job on this road trip, which is to work hard and stay focused. And Creativity will be doing its job, which is to remain stimulating and inspiring. There’s plenty of room in this vehicle for all of us, so make yourself at home, but understand this: Creativity and I are the only ones who will be making any decisions along the way. I recognize and respect that you are part of this family, and so I will never exclude you from our activities, but still—your suggestions will never be followed. You’re allowed to have a seat, and you’re allowed to have a voice, but you are not allowed to have a vote. You’re not allowed to touch the road maps; you’re not allowed to suggest detours; you’re not allowed to fiddle with the temperature. Dude, you’re not even allowed to touch the radio. But above all else, my dear old familiar friend, you are absolutely forbidden to drive.” Then we head off together—me and creativity and fear—side by side by side forever, advancing once more into the terrifying but marvelous terrain of unknown outcome.

Dearest Fear: Creativity and I are about to go on a road trip together. I understand you’ll be joining us, because you always do. I acknowledge that you believe you have an important job to do in my life, and that you take your job seriously. Apparently your job is to induce complete panic whenever I’m about to do anything interesting—and, may I say, you are superb at your job. So by all means, keep doing your job, if you feel you must. But I will also be doing my job on this road trip, which is to work hard and stay focused. And Creativity will be doing its job, which is to remain stimulating and inspiring. There’s plenty of room in this vehicle for all of us, so make yourself at home, but understand this: Creativity and I are the only ones who will be making any decisions along the way. I recognize and respect that you are part of this family, and so I will never exclude you from our activities, but still—your suggestions will never be followed.