Wagner Love Quotes

I love you, Michael Wagner.” “Forever?” he asked. “Forever,” I said.

I love Wagner, but the music I prefer is that of a cat hung up by its tail outside a window and trying to stick to the panes of glass with its claws.

They believe one becomes selfless in love because one desires the advantage of another human being, often against one's own advantage. But in return for that they want to possess the other person.

Kiss me hot,heavy,wet & angry with that attitude like you do when your mouth yells it hates me but your tongue screams it can’t wait for me. Hug me, touch me, submit to me with that insatiable passion like you do when you thought you could leave but the sight of my throbbing rock hard love muscle made you too weak in the knees. Your mind is melting fast, your soul is whispering trust, your eyes are begging please and your anger has turned to lust. Let me undress your body, caress your skin and wetly massage your mind back into making love to me again. I’d rather say I’m sorry and keep my best friend than have this come to an end. Be encouraged but more importantly…be lethal with your make up love.

She's sweet on Wagner. I think she'd die for Beethoven. she loves the way Puccini lays down a tune, and Verdi's always creeping from her room.

Don't love it so well, Clark, or it may be taken from you. Oh, dear boy, pray that whatever your sacrifice may be, it be not that.

We can love anyone at a safe distance, but loving people in the thick of their mess takes the supernatural love of Jesus working in us.

There was only greed for living and dread, and out of dread, out of stupid childish dread of the cold, of loneliness, of death, two people fled to one another, kissed, embraced, rubbed cheek to cheek, put leg to leg, cast new human beings into the world. That was how it was.

Only the Strong know Love; only Love can fathom Beauty; only Beauty can fashion Art.

I can't see the logic in medicating a grieving person like there was something wrong with her, and yet it happens all the time... you go to the doctor with symptoms of profound grief and they push an antidepressant at you. We need to walk through our grief, not medicate it and shove it under the carpet like it wasn't there.

He raised himself above her pallid face and kissed her on both closed eyes and thought: she thinks she is taking and does not know that she is giving; in her loneliness she has fled to me and does not suspect my loneliness.

For one scant day he had loved himself, felt himself to be unified and whole, not split into hostile parts; he had loved himself and the world and God in himself, and everywhere he went he had met nothing but love, approval, and joy.

When I loved you and you loved me, You were the sky, the sea, the tree; Now the skies are skies, and seas are seas, And trees are brown and they are trees.

~Tonight's Sea~ Meet me by the sea, Under the stars. Where we can gaze With our hearts. Today, I am restless, Waiting for tonight's meet. I cannot believe how endless These hours can be. I hope the constellations Are aligned. For tonight we'll see Where our connection wanders. I'll hold on to this dream. My grip isn't fading. My memory isn't gone. Tonight we will be wading In the sea waters of love. -Rachel Nicole Wagner Original

They don’t know I only speak in runaway train stations and everybody is always a few minutes too late to the platform. No one has ever gotten the chance to get too close because it is never romantic to fuck the girl who makes love to her own sadness every single night.

The Holy Spirit is like the wind. It can be gentle enough to stroke a leaf but hard enough to bend a tree. God provides us rest, but He'll also bring us an inch away from our breaking point. Both are done in love.

Where did the mother end and the child begin?

Love doesn’t mean you’re perfect. Loving someone doesn’t mean you don’t screw up. In fact, I’d say the more you love someone, the more time you spend with that someone, the more you’re going to have to say you’re sorry. Love means you say sorry sooner because when you realize you’ve hurt someone you truly love, you want to do whatever you can to make it right.

And in answering that question he saw the inside of that bleak Viking world, the reality of love and compassion that all these hammer-throwing and skull-smashing gods concealed. That

Come into my world. I will show you the phenomenon that Stendhal experienced. I will help you feel the cascading arpeggios of Wagner's overture. I will dance to Doga’s waltzes with you. A day spent without appreciating the beauty surrounding us is a waste. Let me appreciate you

Because a new love affair always gives hope, the irrational mortal loneliness is always crowned, that thing I saw (that horror of a snake emptiness) when I took the deep iodine deathbreath on the Big Sur beach is now justified and hosannah'd and raised up like a sacred urn to Heaven in the mere fact of the taking off of clothes and clashing wits and bodies in the inexpressibly nervously sad delight of love- don't let no old fogies tell you otherwise, and on top of that nobody in the world even ever dares to write the true story of lovem it's awful, we're stuck with a 50% incomplete literature and drama- lying mouth to mouth, kiss to kiss in the pillow dark, loin to loin in unbelievable surrendering sweetness so distant from all our mental fearful abstractions it makes you wonder why men have termed God antisexual somehow- the secret underground truth of mad desire hiding under fenders under buried junkyards throughout the world, never mentioned in newspapers, written about haltingly and like corn by authors and painted tongue in cheek by artists, agh, just listen to Tristan und Isolde by Wagner and think of him in a Bavarian field with his beloved naked beauty under fall leaves.

Inside the church, the bondsmaids were walking slowly down the aisle, with the little petal girls. Trinity turned to give Mimi her last words of motherly advice: 'Walk straight. Don't slouch. And for heavens's sake, smile! It's your bonding!?' Then she too walked through the door and down the aisle. The door shut behind her, leaving Mimi alone. Finally, Mimi heard the orchestra play the first strains of the 'Wedding March.' Wagner. Then the ushers opened the doors and Mimi moved to the threshold. There was an appreciative gasp from the crowd as they took in the sight of Mimi in her fantastic dress. But instead of acknowledging her triumph as New York?s most beautiful bride, Mimi looked straight ahead, at Jack, who was standing so tall and straight at the altar. He met her eyes and did not smile. 'Let's just get this over with.' His words were like an ice pick to the heart. He doesn't love me. He has never loved me. Not the way he loves Schuyler. Not the way he loved Allegra. He has come to every bonding with this darkness. With this regret and hesitation, doubt and despair. She couldn't deny it. She knew her twin, and she knew what he was feeling, and it wasn't joy or even relief. What am I doing? "Ready" Forsyth Llewellyn suddenly appeared by her side. Oh, right, she remembered, she had said yes when Forsyth had offered to walk her down the aisle. Here goes nothing. As if in a daze, Mimi took his arm, Jack's words still echoing in her head. She walked, zombie-like, down the aisle, not even noticing the flashing cameras or the murmurs of approval from the hard-to-impress crowd.

~Incomplete~ When it all falls apart, Just fall into me. I’ll hold you in my arms, Gently. I hope you agree that we’re Meant to be. Without you, I’m incomplete.

I loved before I met him, a large, hulking, healthy Adam ... with a voice like the thunder of God — a singer, story-teller, lion and world-wanderer, a vagabond who will never stop. She

I love you, Clarissa. From the first night we were together, I’ve loved you. Even when I thought I shouldn’t, I couldn’t stop. You’ve completely captured my heart and I don’t ever want you to let it go.

I prefer to African wines, to opium, to burgundy, The elixir of your mouth where love parades itself; When my desires leave in caravan for you, Your eyes are the reservoir where my cares drink. — Charles Baudelaire, from “Sed Non Satiata,” Fleurs du mal / Flowers of Evil. Translated by Geoffrey Wagner. (David R. Godine; First edition, second printing edition October 1, 1985) Originally published 1857.

You are my greatest redemption. I wandered around lost for so long, but with you I found my purpose. You make me feel complete. You are the missing piece that makes me whole. Wherever you are is where I want to be.

Deep You, you’re deep water And I’m scared because I can’t defaulter I don’t know how to swim, So, if I jump in, I’ll be consumed by your waves. I’ll try to keep my head above the rage. But you’ll just swallow up my whole. My entire being will be controlled. If I were to dive, I could no longer thrive. You would consume my being; Leaving me breathless, not breathing. Is there a medium I can prescribe? That would allow me to disguise The fear I gather in my bones. I just can’t swim in the water of morone. Do you possess a life support To hold me up? My last resort. If I jump in, I’ll drown in bends. Your love is suffocating, nothing can amend. November 20, 2011

If the heart was fragile, like a porcelain cup, and a great loss shattered it, all the time and kindness in the world couldn’t hide the ugly cracks. Once the precious liquid of love had seeped away, you were left dry. Dry and empty. Echoing

There wasn’t a single teetotaler “among the world’s really great men,” Stoll wrote; on the contrary, he said, the roster of wine-loving giants ran from Alexander the Great and Julius Caesar to Columbus, Dickens, Lincoln, and Bismarck, not to mention Verdi, Wagner, and Admiral Dewey.

He came from plebeian roots and had failed to distinguish himself in any way, not in war, not in work, not in art, though in this last domain he believed himself to have great talent. He was said to be indolent. He rose late, worked little, and surrounded himself with the lesser lights of the party with whom he felt most comfortable, an entourage of middlebrow souls that Putzi Hanfstaengl derisively nicknamed the “Chauffeureska,” consisting of bodyguards, adjutants, and a chauffeur. He loved movies—King Kong was a favorite—and he adored the music of Richard Wagner.

We can take the life apart. We do it all the time.” The veins on Alan Saturn’s temples were pressing forward with their new influx of blood. “Picasso put his cigarettes out on his girlfriends and we don’t love the paintings any less for it. Wagner was a fascist and I can hum you every bar in the opening of Die Walküre.

I mentioned that Jesus came to invade satan’s kingdom. When He did, the long period of time covered by the Old Testament permanently changed. Jesus brought a new covenant. When precisely did things change? Theologically, they changed on the cross. Paul explains this in some detail in Colossians when he says that the Father “has delivered us from the power of darkness and translated us into the kingdom of the Son of His love” (Col. 1:13). He then goes on to say that we have redemption through His blood (Col. 1:14). The blood that Jesus shed on the cross defeated the enemy, or as Paul later says, “having disarmed principalities and powers, He made a public spectacle of them, triumphing over them in it” (Col. 2:15). He declares that Jesus is the “head of all principality and power” (Col. 2:10).

Yes, angels exist. Many people say that ‘a loving God would never allow 9/11 to happen, or a really bad car crash, or starvation.’ Yet they neglect the fact that there were survivors of 9/11, the car crash wasn’t fatal, and those who starved at least had a life to live; Interestingly enough, most people who say the former neglect to mention the horror of abortion. Those babies only lived a few months.

We turn our eyes away from distance, we raise them in our home again, and there we see a prince whom his people loves, not in the mere sense of old-traditional allegiance to his family, no! of pure love for himself, for his ownest I. We love him because he is what he is, we love his pure virtue, his high sense of honour, his probity, his clemency. So from a full a heart I cry aloud in joy: - That is the man of Providence.

Christmas time is here. You see it everywhere. Wreaths hanging on doors. Lights hanging on every house and porch. It’s that time of year, Where families gather for Christmas cheer. Having eggnog And loving God. Everybody loves it, Christmas is special To you and me As you can see. I love Christmas so much. Celebrating Jesus’ birth. He was born in a stable on that cold winter’s night. He changed the world on that night, bright.

He who thinks materialistically only knows that one can physically reach and assist another person. He has no notion that his inner feelings have significance for others, or that bonds, invisible to physical sight, link soul to soul. A mystic is well aware of these bonds. Richard Wagner was profoundly aware of their existence. To clarify what is meant by this, let us look at a significant legend from the Middle Ages that to modern humans is just a legend. However, its author, and anyone who recognizes its mystical meaning, is aware that this legend expresses a spiritual reality. The legend, which is part of an epic, tells us about Poor Henry who suffered from a dreadful illness. We are told that only if a pure maiden would sacrifice herself for him could he be cured of his terrible infliction. This indicates that the love, offered by a soul that is pure, can directly influence and do something concretely for another human life.

So was a brochure entitled “How Prohibition Would Affect California,” an unmistakable example of Stoll’s high-stepping jauntiness. There wasn’t a single teetotaler “among the world’s really great men,” Stoll wrote; on the contrary, he said, the roster of wine-loving giants ran from Alexander the Great and Julius Caesar to Columbus, Dickens, Lincoln, and Bismarck, not to mention Verdi, Wagner, and Admiral Dewey. How he knew what he claimed to know about the drinking habits of his Hall of Fame was unclear, but it set up the punch line: “What names can the prohibitionists show to compare with those above?” the brochure asked. “Has there ever been a prohibitionist who was a really great man . . . unless it be Mohammed, the first prohibitionist?

He came from plebeian roots and had failed to distinguish himself in any way, not in war, not in work, not in art, though in this last domain he believed himself to have great talent. He was said to be indolent. He rose late, worked little, and surrounded himself with the lesser lights of the party with whom he felt most comfortable, an entourage of middlebrow souls that Putzi Hanfstaengl derisively nicknamed the “Chauffeureska,” consisting of bodyguards, adjutants, and a chauffeur. He loved movies—King Kong was a favorite—and he adored the music of Richard Wagner. He dressed badly. Apart from his mustache and his eyes, the features of his face were indistinct and unimpressive, as if begun in clay but never fired. Recalling his first impression of Hitler, Hanfstaengl wrote, “Hitler looked like a suburban hairdresser on his day off.

Sed Non Satiata Strange deity, brown as nights, Whose perfume is mixed with musk and Havanah, Magical creation, Faust of the savanna, Sorceress with the ebony thighs, child of black midnights, I prefer to African wines, to opium, to burgundy, The elixir of your mouth where love parades itself; When my desires leave in caravan for you, Your eyes are the reservoir where my cares drink. From those two great black eyes, chimneys of our spirit, O pitiless demon, throw out less flame at me; I am no Styx to clasp you nine times, Nor can I, alas, dissolute shrew, To break your courage, bring you to bay, Become any Proserpine in the hell of your bed! — Charles Baudelaire, from “Sed, Fleurs du mal / Flowers of Evil. Translated by Geoffrey Wagner. (David R. Godine; First edition, second printing edition October 1, 1985) Originally published 1857.

Since the moment we met, it has been a test of strength and will to keep my hands and teeth off you; but it must end. To be in your company- even if I cannot taste your blood again, or make love to you- yet- it is reward enough for now." My cheeks reddened at his mention of love-making. In truth, I had indulged in fantasies many times about that very subject, from the time I had first met him as Mr. Wagner, when I was a single woman. The notion had been shocking enough even then; but I was married now. I could never... it was inconceivable. Nicolae looked at me sharply, apparently reading my thoughts, which made me blush even more deeply. He took my hand in his, brought it to his lips, and kissed it, saying: "Relax, Mina. I understand that your desires conflict with your curious Victorian sense of propriety and morality. If I have your heart-" "You have it." "Then I am willing to forgo the rest at present.

We must remember with Heine that Aristophanes is the God of this ironic earth, and that all argument is apparently vitiated from the start by the simple fact that Wagner and a rooster are given an analogous method of making love. And therefore it seems impeccable logic to say that all that is most unlike the rooster is the most spiritual part of love. All will agree on that, schisms only arise when one tries to decide what does go farthest from the bird's automatic mechanism. Certainly not a Dante-Beatrice affair which is only the negation of the rooster in terms of the swooning bombast of adolescence, the first onslaught of a force which the sufferer cannot control or inhabit with all the potentialities of his body and soul. But the rooster is troubled by no dreams of a divine orgy, no carnival-loves like Beethoven's Fourth Symphony, no heroic and shining lust gathering and swinging into a merry embrace like the third act of Siegfried. It is desire in this sense that goes farthest from the animal.

Art, as we have known it, stands on the threshold of the transcendental. It points beyond this world of accidental and disconnected things to another realm, in which human life is endowed with an emotional logic that makes suffering noble and love worthwhile. Nobody who is alert to beauty, therefore, is without the concept of redemption—of a final transcendence of mortal disorder into a ‘kingdom of ends’. In an age of declining faith art bears enduring witness to the spiritual hunger and immortal longings of our species. Hence aesthetic education matters more today than at any previous period in history. As Wagner expressed the point:‘It is reserved to art to salvage the kernel of religion, inasmuch as the mythical images which religion would wish to be believed as true are apprehended in art for their symbolic value, and through ideal representation of those symbols art reveals the concealed deep truth within them.’ Even for the unbeliever, therefore the ‘real presence’ of the sacred is now one of the highest gifts of art.

Music, unlike Albertine’s company, helped me to go deeper into myself, to find new things there: the variety which I had vainly sought in life and in travel, yet the longing for which was stirred in me by that surge of sound whose sunlit wavelets came to break at my feet. It was a double diversity. Just as the spectrum makes the composition of light visible to us, the harmonies of a Wagner, the color of an Elstir let us know the qualitative essence of another’s sensations in a way that love for another being can never do. Then there is the variety within the work itself, achieved by the only means there is of being genuinely diverse: bringing together different individualities. Where a lesser musician would claim he is depicting a squire or a knight, while having them sing the same music, Wagner, on the other hand, places under each name a different reality, and each time his squire appears, a particular figure, at once complex and simplistic, bursts, with a joyous, feudal clashing of lines, into the immensity of sound and leaves its mark there. Hence the fullness of a music which, in fact, is filled with countless different musics each of which is a being in its own right.

The first movie star I met was Norma Shearer. I was eight years old at the time and going to school with Irving Thalberg Jr. His father, the longtime production chief at Metro-Goldwyn-Mayer, devoted a large part of his creative life to making Norma a star, and he succeeded splendidly. Unfortunately, Thalberg had died suddenly in 1936, and his wife's career had begun to slowly deflate. Just like kids everywhere else, Hollywood kids had playdates at each other's houses, and one day I went to the Thalberg house in Santa Monica, where Irving Sr. had died eighteen months before. Norma was in bed, where, I was given to understand, she spent quite a bit of time so that on those occasions when she worked or went out in public she would look as rested as possible. She was making Marie Antoinette at the time, and to see her in the flesh was overwhelming. She very kindly autographed a picture for me, which I still have: "To Cadet Wagner, with my very best wishes. Norma Shearer." Years later I would be with her and Martin Arrouge, her second husband, at Sun Valley. No matter who the nominal hostess was, Norma was always the queen, and no matter what time the party was to begin, Norma was always late, because she would sit for hours—hours!—to do her makeup, then make the grand entrance. She was always and forever the star. She had to be that way, really, because she became a star by force of will—hers and Thalberg's. Better-looking on the screen than in life, Norma Shearer was certainly not a beauty on the level of Paulette Goddard, who didn't need makeup, didn't need anything. Paulette could simply toss her hair and walk out the front door, and strong men grew weak in the knees. Norma found the perfect husband in Martin. He was a lovely man, a really fine athlete—Martin was a superb skier—and totally devoted to her. In the circles they moved in, there were always backbiting comments when a woman married a younger man—" the stud ski instructor," that sort of thing. But Martin, who was twelve years younger than Norma and was indeed a ski instructor, never acknowledged any of that and was a thorough gentleman all his life. He had a superficial facial resemblance to Irving Thalberg, but Thalberg had a rheumatic heart and was a thin, nonathletic kind of man—intellectually vital, but physically weak. Martin was just the opposite—strong and virile, with a high energy level. Coming after years of being married to Thalberg and having to worry about his health, Martin must have been a delicious change for Norma.

In most respects, Barbara [Stanwyck] was a man's woman, although her home was lovely. Like me, she was an animal lover—she kept poodles. Her son, Dion, was in the service at this point—I never actually met him—and she was hopeful that the Army might help him. She had adopted Dion when she was married to Frank Fay, one of the most dreadful men in the history of show business. Fay was a drunk, an anti-Semite, and a wife-beater, and Barbara had had to endure all of that. I don't think she was going to an analyst at this point, but she did make regular visits to a man who gave her sodium pentothal. It wasn't like the LSD therapy that came later, which Cary Grant tried and got so much out of. Barbara had a lot of things going on in her head, but she didn't put it out there for conversation, let alone public consumption. When I was with her, it was all about us. There wasn't a lot about anybody else, not Frank Fay, or even Bob Taylor. She had a small scar on her chest, where someone had once put out a cigarette on her. I think it was Al Jolson, speaking of sons of bitches. Jolson had been crazy about her back in the New York days, when she was a young actress on Broadway. She would talk about him once in a while, mainly about what an asshole he had been.

I was in love with her. She was very loving, very caring, very involved with me, and highly sexed. Making love with her was an entirely different thing than I had ever experienced. I had been with girls, and I had been with women, but I had never been with a woman with her level of knowledge, her level of taste. I was so incredibly taken with her, taken by her. We were both at turning points in our lives. She had been married to Robert Taylor for over ten years when he went to Italy to make Quo Vadis and had an affair, at which point Barbara [Stanwyck] threw him out. She was bitter about Taylor; she acted very quickly, almost reflexively, although I don't know that she thought it was too quick. I don't know precisely what went on between them; we never got into it. In fact, I went hunting with Bob Taylor a few times, and I think he might have known about us. At any rate, she had just gotten her divorce when we met. She was at a very vulnerable moment in her life and career. The forties are a dangerous time for any woman, and especially so for an actress whose work is her identity—definitely Barbara's way of life. The transition to playing middle-aged women has unnerved a lot of actresses—some of Barbara's contemporaries, such as Norma Shearer and Kay Francis, quit the business rather than confront it—but she faced it straight on because that's the kind of woman she was. The continuity of her career was more important to her than any individual part. Like so many people in show business, she was a prisoner of her career. Because of my youth, I suppose in one sense I was a validation of her sexuality.

In the story of Wagner and Wagnerism, we see both the highest and the lowest impulses of humanity entangled. It is the triumph of art over reality and the triumph of reality over art; it is a tragedy of flaws set so deep that after two centuries they still infuriate us as if the man were in the room. To blame Wagner for the horrors committed in his wake is an inadequate response to historical complexity: it lets the rest of civilization off the hook. At the same time, to exonerate him is to ignore his insidious ramifications. It is no longer possible to idealize Wagner: the ugliness of his racism means that posterity's picture of him will always be cracked down the middle. In the end, the lack of a tidy moral resolution should make us more honest about the role that art plays in the world. In Wagner's vicinity, the fantasy of artistic autonomy falls to pieces and the cult of genius comes undone. Amid the wreckage, the artist is liberated from the mystification of "great art”. He becomes something more unstable, fragile, and mutable. Incomplete in himself, he requires the most active and critical kind of listening. So it goes with all art that endures: it is never a matter of beauty proving eternal. When we look at Wagner, we are gazing into a magnifying mirror of the soul of the human species. What we hate in it, we hate in ourselves; what we love in it, we love in ourselves also. In the distance we may catch glimpses of some higher realm, some glimmering temple, some ecstasy of knowledge and compassion. But it is only a shadow on the wall, an echo from the pit. The vision fades, the curtain falls, and we shuffle back in silence to the world as it is.

In the words of the master: infinity but without melody. In the second place, with regard to the overthrowing,--this belongs at least in part, to physiology. Let us, in the first place, examine the instruments. A few of them would convince even our intestines (--they _throw open_ doors, as Handel would say), others becharm our very marrow. The _colour of the melody is_ all-important here, _the melody itself_ is of no importance. Let us be precise about _this_ point. To what other purpose should we spend our strength? Let us be characteristic in tone even to the point of foolishness! If by means of tones we allow plenty of scope for guessing, this will be put to the credit of our intellects. Let us irritate nerves, let us strike them dead: let us handle thunder and lightning,--that is what overthrows.{~HORIZONTAL ELLIPSIS~} But what overthrows best, is _passion_.--We must try and be clear concerning this question of passion. Nothing is cheaper than passion! All the virtues of counterpoint may be dispensed with, there is no need to have learnt anything,--but passion is always within our reach! Beauty is difficult: let us beware of beauty!{~HORIZONTAL ELLIPSIS~} And also of _melody!_ However much in earnest we may otherwise be about the ideal, let us slander, my friends, let us slander,--let us slander melody! Nothing is more dangerous than a beautiful melody! Nothing is more certain to ruin taste! My friends, if people again set about loving beautiful melodies, we are lost!{~HORIZONTAL ELLIPSIS~} _First principle_: melody is immoral. _Proof_: "Palestrina". _Application_: "Parsifal." The absence of melody is in itself sanctifying.{~HORIZONTAL ELLIPSIS~} And this is the definition of passion. Passion--or the acrobatic feats of ugliness on the tight-rope of enharmonic--My friends, let us dare to be ugly! Wagner dared it! Let us heave the mud of the most repulsive harmonies undauntedly before us. We must not even spare our hands! Only thus, shall we become _natural_.{~HORIZONTAL ELLIPSIS~}

Revolt of solitary instincts against social bonds is the key to the philosophy, the politics, and the sentiments, not only of what is commonly called the romantic movement, but of its progeny down to the present day. Philosophy, under the influence of German idealism, became solipsistic, and self-development was proclaimed as the fundamental principle of ethics. As regards sentiment, there has to be a distasteful compromise between the search for isolation and the necessities of passion and economics. D. H. Lawrence's story, 'The Man Who Loved Islands', has a hero who disdained such compromise to a gradually increasing extent and at last died of hunger and cold, but in the enjoyment of complete isolation; but this degree of consistency has not been achieved by the writers who praise solitude. The comforts of civilized life are not obtainable by a hermit, and a man who wishes to write books or produce works of art must submit to the ministrations of others if he is to survive while he does his work. In order to continue to feel solitary, he must be able to prevent those who serve him from impinging upon his ego, which is best accomplished if they are slaves. Passionate love, however, is a more difficult matter. So long as passionate lovers are regarded as in revolt against social trammels, they are admired; but in real life the love-relation itself quickly becomes a social trammel, and the partner in love comes to be hated, all the more vehemently if the love is strong enough to make the bond difficult to break. Hence love comes to be conceived as a battle, in which each is attempting to destroy the other by breaking through the protecting walls of his or her ego. This point of view has become familiar through the writings of Strindberg, and, still more, of D. H. Lawrence. Not only passionate love, but every friendly relation to others, is only possible, to this way of feeling, in so far as the others can be regarded as a projection of one's own Self. This is feasible if the others are blood-relations, and the more nearly they are related the more easily it is possible. Hence an emphasis on race, leading, as in the case of the Ptolemys, to endogamy. How this affected Byron, we know; Wagner suggests a similar sentiment in the love of Siegmund and Sieglinde. Nietzsche, though not scandalously, preferred his sister to all other women: 'How strongly I feel,' he writes to her, 'in all that you say and do, that we belong to the same stock. You understand more of me than others do, because we come of the same parentage. This fits in very well with my "philosophy".

If he is going to treat her as the moral idea demands, he must try to see in her the concept of mankind and endeavour to respect her. [...] Thus this book may be considered as the greatest honour ever paid to women. Nothing but the most moral relation towards women should be possible for men; there should be neither sexuality nor love, for both make woman the means to an end, but only the attempt to understand her. Most men theoretically respect women, but practically they thoroughly despise them; according to my ideas this method should be reversed. It is impossible to think highly of women, but it does not follow that we are to despise them for ever. [...] Even technically the problem of humanity is not soluble for man alone; he has to consider woman even if he only wishes to redeem himself; he must endeavour to get her to abandon her immoral designs on him. Women must really and truly and spontaneously relinquish coitus. That undoubtedly means that woman, as woman, must disappear, and until that has come to pass there is no possibility of establishing the kingdom of God on earth. Pythagoras, Plato, Christianity (as opposed to Judaism), Tertullian, Swift, Wagner, Ibsen, all these have urged the freedom of woman, not the emancipation of woman from man, but rather the emancipation of woman from herself. [...] This is the way, and no other, to solve the woman question, and this comes from comprehending it. The solution may appear impossible, its tone exaggerated, its claims overstated, its requirements too exacting. Undoubtedly there has been little said about the woman question, as women talk of it; we have been dealing with a subject on which women are silent, and must always remain silent—the bondage which sexuality implies. This woman question is as old as sex itself, and as young as mankind. And the answer to it? Man must free himself of sex, for in that way, and that way alone, can he free woman. In his purity, not, as she believes, in his impurity, lies her salvation. She must certainly be destroyed, as woman; but only to be raised again from the ashes—new, restored to youth—as a real human being. [...] Sexual union has no place in the idea of mankind, not because ascetism is a duty, but because in it woman becomes the object, the cause, and man does what he will with her, looks upon her merely as a "thing," not as a living human being with an inner, psychic, existence. And so man despises woman the moment coitus is over, and the woman knows that she is despised, even although a few minutes before she thought herself adored. The only thing to be respected in man is the idea of mankind; this disparagement of woman (and himself), induced by coitus, is the surest proof that it is opposed to that idea of mankind. Any one who is ignorant of what this Kantian "idea of mankind" means, may perhaps understand it when he thinks of his sisters, his mother, his female relatives; it concerns them all: for our own sakes, then, woman ought to treated as human, respected and not degraded, all sexuality implying degradation. But man can only respect woman when she herself ceases to wish to be object and material for man; if there is any question of emancipation it should be the emancipation from the prostitute element. [...] The question is not merely if it be possible for woman to become moral. It is this: is it possible for woman really to wish to realise the problem of existence, the conception of guilt? Can she really desire freedom? This can happen only by her being penetrated by an ideal, brought to the guiding star. It can happen only if the categorical imperative were to become active in woman; only if woman can place herself in relation to the moral idea, the idea of humanity. In that way only can there be an emancipation of woman.

After the picture had been shooting for a couple of weeks, Jean had a party at his house on a Saturday night. I escorted Barbara [Stanwyck] and stayed close to her throughout the evening. I was enthralled by her and terribly attracted to her, but I couldn't tell if she returned the favor. She was friendly, but not overly so. When the party was over, I drove Barbara back to her house on Beverly Glen and took her house key to open her front door. I had to bend over to find the lock, and I only opened the door a crack. I wasn't sure how to proceed. Would she invite me in, or would she just take her key, pat me on the cheek, and thank me for a lovely evening? And then I straightened up to look at her with what I'm sure was a hopeful expression, and I saw something I hadn't seen in her eyes before. It was a magical look of interest . . . and appreciation . . . and desire. I immediately took her in my arms and kissed her. I had never had a reaction from a woman like I had from Barbara. A different kiss, with a different feeling. We went into the house; we opened a bottle of champagne; we danced. I left at dawn.

She had an old friend from the vaudeville days named Buck Mack who lived with her. Buck had been part of a vaudeville team called Miller & Mack and had been an extra in Citizen Kane. In modern terms, he was a personal assistant: he ran the house, kept everything running smoothly, and watched over her. At first, Buck regarded me as an interloper, but it wasn't long before he saw that Barbara and I genuinely loved each other, and he and I became good friends. Because of the age difference, neither of us wanted to have our relationship in the papers, and with the help of Helen Ferguson, her publicist and one of her best friends, we kept it quiet. There were only a few people who knew about us. Nancy Sinatra Sr. was one of them, because she and Barbara were close friends. I didn't tell anybody at Fox about our affair, although Harry Brand might have known, if only because Harry knew everything. Likewise, I always assumed that Darryl Zanuck knew, although he never said a word about it to me. That might have been because Darryl and Barbara had something of a history, a bad one: Barbara told me that Darryl had chased her around his office years earlier, and I got the distinct impression that she hadn't appreciated the exercise.

And my parents knew, because Barbara [Stanwyck] called their house a few times looking for me. I finally told them we were seeing each other, although I didn't give them all the details. They met her once, at a party at Clifton Webb's house, and my mother was upset that I was in love with an older woman. As for my father, as with most other events in my life, he was not in my corner. And I eventually told Spencer Tracy about it. All he said was, "Wonderful! Are you happy? If you're happy, that's all that matters.

Spending time around her house, I came across a cache of 16mm movies in her basement. It turned out that Barbara [Stanwyck] had a lot of her own movies, and I convinced her to spend some time watching them with me. I ran the projector. She had prints of Union Pacific, Ball of Fire, and Baby Face, among others. She didn't particularly like watching them, but she did enjoy reminiscing about their production: how she got the part, what the location was like, that sort of thing. She liked people with humor and always spoke highly of Gary Cooper, Joel McCrea, and Frank Capra. Oddly enough, she wasn't crazy about Preston Sturges; she seemed to feel that he expended all his charm and humor for his movies and that there wasn't anything left for his actors. In broad outline, all this sounds a little bit like the scene in Sunset Boulevard where Gloria Swanson sits with William Holden and watches a scene from Queen Kelly, rhapsodizing about her own face. But Barbara couldn't have cared less about how she looked; as I watched her films with her, it was clear that, for her, the movies were a job she loved, as well as a social occasion for a woman who was otherwise something of a loner.

Barbara [Stanwyck] was the first woman I ever loved.

No one is perfect. We all need a Savior. The more honest we become about our flaws, the more we'll reach out for the grace and love of Jesus.

People love to quote that Jesus is love, yet they neglect to mention that He's also King. If you love the King, you will obey Him.

Love Is something you can't see but you can feel and love is the best and the worst feeling because in love you don't win but you don't lose you just love

11 — I have explained where Wagner belongs—not in the history of music. What does he signify nevertheless in that history? The emergence of the actor in music: a capital event that invites thought, perhaps also fear. In a formula: "Wagner and Liszt."— Never yet has the integrity of musicians, their "authenticity," been put to the test so dangerously. One can grasp it with one's very hands: great success, success with the masses no longer sides with those who are authentic,—one has to be an actor to achieve that!— Victor Hugo and Richard Wagner—they both prove one and the same thing: that in declining civilizations, wherever the mob is allowed to decide, genuineness becomes superfluous, prejudicial, unfavorable. The actor, alone, can still kindle great enthusiasm.— And thus it is his golden age which is now dawning—his and that of all those who are in any way related to him. With drums and fifes, Wagner marches at the head of all artists in declamation, in display and virtuosity. He began by convincing the conductors of orchestras, the scene-shifters and stage-singers, not to forget the orchestra:—he "redeemed" them from monotony .... The movement that Wagner created has spread even to the land of knowledge: whole sciences pertaining to music are rising slowly, out of centuries of scholasticism. As an example of what I mean, let me point more particularly to Riemann's [Hugo Riemann (1849-1919): music theoretician] services to rhythmic; he was the first who called attention to the leading idea in punctuation—even for music (unfortunately he did so with a bad word; he called it "phrasing"). All these people, and I say it with gratitude, are the best, the most respectable among Wagner's admirers—they have a perfect right to honor Wagner. The same instinct unites them with one another; in him they recognize their highest type, and since he has inflamed them with his own ardor they feel themselves transformed into power, even into great power. In this quarter, if anywhere, Wagner's influence has really been beneficial. Never before has there been so much thinking, willing, and industry in this sphere. Wagner endowed all these artists with a new conscience: what they now exact and obtain from themselves, they had never extracted before Wagner's time—before then they had been too modest. Another spirit prevails on the stage since Wagner rules there: the most difficult things are expected, blame is severe, praise very scarce—the good and the excellent have become the rule. Taste is no longer necessary, nor even is a good voice. Wagner is sung only with ruined voices: this has a more "dramatic" effect. Even talent is out of the question. Expressiveness at all costs, which is what the Wagnerian ideal—the ideal of décadence—demands, is hardly compatible with talent. All that is required for this is virtue—that is to say, training, automatism, "self-denial." Neither taste, voices, nor gifts: Wagner's stage requires one thing only—Teutons! ... Definition of the Teuton: obedience and long legs ... It is full of profound significance that the arrival of Wagner coincides in time with the arrival of the "Reich": both actualities prove the very same thing: obedience and long legs.— Never has obedience been better, never has commanding. Wagnerian conductors in particular are worthy of an age that posterity will call one day, with awed respect, the classical age of war. Wagner understood how to command; in this, too, he was the great teacher. He commanded as the inexorable will to himself, as lifelong self-discipline: Wagner who furnishes perhaps the greatest example of self-violation in the history of art (—even Alfieri, who in other respects is his next-of-kin, is outdone by him. The note of a Torinese). 12 The insight that our actors are more deserving of admiration than ever does not imply that they are any less dangerous ... But who could still doubt what I want,—what are the three demands for which my my love of art has compelled me?

It is hard when God widens your heart. Loving people comes with a cost, but the love and joy repaid is worth the price.

He is my Savior. He is my friend. He was born in a manger. And died for my sins. He still lives in heaven above, Looking down on us. He loves us so much, Even if sometimes we’re dumb. And so, we celebrate Christmas every year, Loving God and bringing holiday cheer. But we often get so mixed up in the spirit, We don’t realize what makes Christmas. It’s not about the eggnog, presents, Reindeer, or even elves. It’s about God who sent His One and only Son, Jesus for us. So, whatever you do this year, Remember Christmas is about Jesus, Not Santa Claus and Reindeer. Merry Christmas, Dear!

Listen with full attention. Listen completely with no judging. Listen to the voice inside. With no doubt, hear every sound. Don’t ignore or reform the words. Just listen. You’ll begin to understand. Ever word being said. Be quiet for once. All you have to do is listen. Do you hear it? Do you finally hear what’s being said? Do you understand Who is there? Do you know that He cares? He has always been there. Did you know He listens to you? Every time you called, He was there. He loves you. Listen, He died for you. So, next time you don’t understand. Listen. Just listen, with full attention. Listen. Just listen to Him.

I want to be the one you run to. I want to be the one you miss. I want your arms to hold me through. I want your lips to be mine to kiss. I want to be the one you’re in love with. Eyes opening up my heart like a locksmith. I want to be the one you snuggle. Together creating jealous couples. Love is one of the greatest treasures. Something that cannot be measured. Take me with you on this journey. As long as we’re together, there’re no worries.

How do I forget all this hurt and pain in the past? How do I forget the last year that has passed? How do I know that everything will be alright? Is there a light at the end of this tunnel, so bright? Will everything work out in the end? Will I ever be able to love again? Will this feeling and regret and guilt wilt? How long will it take for my heart to heal?

Things admitted in the dark of night were not always easy to say in the light of day.

Wagner nodded. “Let me put it this way. We’ve had a lot of people wanting to put an American flag up on the platform at our church, especially around the Fourth of July and times like that. But every time, I’ve said no. We’re there to worship God, not America,” he said. “We love America, but that’s a separate thing.

We live in a confused time, with democracy in apparent decline and with the church and Christian consciences increasingly at risk from governments, in various parts of the globe, that, having made a mess of almost everything else, decide to distract attention by stirring up anti-Christian sentiment and passing laws designed to make life difficult for those who want to be faithful followers of Jesus Christ. This is where faithfulness, loyalty, and trustworthiness will stand out, where that fourth meaning of rrionc is needed over against the shrinkage of "faith" to merely "my personal belief." The rhetoric of the Enlightenment has been extremely keen to squash "faith" into "private, personal belief," so that it can then insist that such "faith" should stay as a private matter and not leak out to infect the wider world. But since the Christian's personal belief is in the creator God who raised Jesus from the dead, this personal belief can never remain only a personal belief but, rooted in the trust that is the first meaning of rricrts, must grow at once into the loyalty, the public trustworthiness, that is the fourth meaning. This too is part of the virtue of "faith": to take the thousand small decisions to be loyal, even in public, even when it is dangerous or difficult, and so to acquire the habit of confessing this faith (sense 3) both when it is safe and when it is dangerous. Just as Mother Teresa spoke of recognizing Jesus in the Eucharist and then going out to recognize him in the poor and needy, so we need to learn the virtue of affirming our faith in our liturgical and prayer life so that we can then go out and affirm it on the street, in public debate, in pursuit of that freedom for which the second-century apologists argued. Christian faith, then, does indeed belong among the virtues. But we can only understand that in the light of the full biblical and eschatological narrative, in which God's eventual new creation, launched in Jesus' resurrection, will make all things new. Christian faith looks back to Jesus, and on to that eventual new day. It tastes in advance, in personal and public life, the freedom that we already have through Jesus and that one day we shall have in all its fullness. The practice of this "faith" is, on the one hand, the steady, grace-given entering into the habit by which our character is formed, a habit correlated with those resulting from the similar practice of hope and love. On the other hand, the practice of this faith is the genuine anticipation in the present of that trust, belief, and faithfulness that are part of the telos, the goal. That goal, already given in Jesus Christ, is the destination toward which we are now journeying in the power of the Spirit. Virtue is one of the things that happen in between, and because of, that gift and that goal.

True joy is only attained when our hearts beat with God’s desires, when we love His will more than our own, and when His desires fuel our desires.

There will always be children whose parents love them so much, they'd give them away and let them go. In a just world, love could keep them all from sinking.

Experimentation also proved serendipitous for Greg Koch and Steve Wagner, when they were putting together the Stone Brewing Co. in Escondido, California, north of San Diego. It was destined to become one of the most successful brewing startups of the 1990s. In The Craft of Stone Brewing Co. Koch and Wagner confess that the home-brewed ale that became Arrogant Bastard Ale and propelled Stone to fame in the craft brewing world, started with a mistake. Greg Koch recalls that Wagner exclaimed “Aw, hell!” as he brewed an ale on his brand spanking new home-brewing system. “I miscalculated and added the ingredients in the wrong percentages,” he told Koch. “And not just a little. There’s a lot of extra malt and hops in there.” Koch recalls suggesting they dump it, but Wagner decided to let it ferment and see what it tasted like. Greg Koch and Steve Wagner, founders of Stone Brewery. Photograph © Stone Brewing Co. They both loved the resulting hops bomb, but they didn’t know what to do with it. Koch was sure that nobody was “going to be able to handle it. I mean, we both loved it, but it was unlike anything else that was out there. We weren’t sure what we were going to do with it, but we knew we had to do something with it somewhere down the road.”20 Koch said the beer literally introduced itself as Arrogant Bastard Ale. It seemed ironic to me that a beer from southern California, the world of laid back surfers, should produce an ale with a name that many would identify with New York City. But such are the ironies of the craft brewing revolution. Arrogant Bastard was relegated to the closet for the first year of Stone Brewing Co.’s existence. The founders figured their more commercial brew would be Stone Pale Ale, but its first-year sales figures were not strong, and the company’s board of directors decided to release Arrogant Bastard. “They thought it would help us have more of a billboard effect; with more Stone bottles next to each other on a retail shelf, they become that much more visible, and it sends a message that we’re a respected, established brewery with a diverse range of beers,” Wagner writes. Once they decided to release the Arrogant Bastard, they decided to go all out. The copy on the back label of Arrogant Bastard has become famous in the beer world: Arrogant Bastard Ale Ar-ro-gance (ar’ogans) n. The act or quality of being arrogant; haughty; Undue assumption; overbearing conceit. This is an aggressive ale. You probably won’t like it. It is quite doubtful that you have the taste or sophistication to be able to appreciate an ale of this quality and depth. We would suggest that you stick to safer and more familiar territory—maybe something with a multi-million dollar ad campaign aimed at convincing you it’s made in a little brewery, or one that implies that their tasteless fizzy yellow beverage will give you more sex appeal. The label continues along these lines for a couple of hundred words. Some call it a brilliant piece of reverse psychology. But Koch insists he was just listening to the beer that had emerged from a mistake in Wagner’s kitchen. In addition to innovative beers and marketing, Koch and Wagner have also made their San Diego brewery a tourist destination, with the Stone Brewing Bistro & Gardens, with plans to add a hotel to the Stone empire.

Of course marriage is going to be difficult—for there is no other relationship on the face of the earth which has more power to expose us and make us vulnerable, and arouse our longings and desires. Of course marriage is going to require your daily mercies and your steadfast love.7

Doctor Horder, whose notes to biographers and critics are remarkably consistent. His patient intended to die. Moreover, he believed that she did so in a psychotic state that, as he wrote to Linda Wagner-Martin, “seems to me to take away most of the blame for depriving two young children of their mother.

was the tragic lark of an irresponsible, wildly gifted artist who gambled her life for her art, and lost. In his letter to Wagner-Martin, Dr. Horder addresses this trend, calling it “so limited an explanation as to be nearly ridiculous.

More than a mortal marriage, a Beloved pair was stronger together. They enhanced each other’s powers, provided companionship, intimacy, love. The only way angels could procreate was with their matched Beloved. More than anything, Rynk wanted her. Together, they would become ‘one flesh, one heart, one mind.

Asked how it felt to be reunited with Wagner after so many years apart, Wood was revealingly honest. “Well, hopefully, we are more mature now and more solid in terms of what we want out of life. We appreciate the good times more now, having lived through some rough times,” she said in a breathless voice.

The concept was perfectly suited for Wagner’s cool image as a self-made adventurer and gave Powers the chance to portray a flirtatious writer with a superior mind and a gorgeous body.

After the couple kissed and made up, they were all smiles again. But Wagner was left with a nagging feeling of inadequacy; especially after his wife’s sensational performance earned rave reviews, sparking rumors of Emmy and Golden Globe nominations.

Strauss finished Metamorphosen on April 12, 1945. Franklin Delano Roosevelt died the same day. Samuel Barber's Adagio for Strings, vaguely similar in tone to the music that Strauss had just composed, played on American radio. That afternoon in the ruins of Berlin, the Berlin Philharmonic presented an impeccably Hitlerish program that included Beethoven's Violin Concerto, Bruckner's Romantic Symphony, and the Immolation Scene from Götterdämmerung. After the concert, members of the Hitler Youth distributed cyanide capsules to the audience, or so the rumor went. Hitler marked his fifty-sixth birthday on April 20. Ten days later, he shot himself in the mouth. In accordance with his final instructions, the body was incinerated alongside that of Eva Braun. Hitler possibly envisaged his immolation as a reprise of that final scene of the Ring, in which Brünnhilde builds a pyre for Siegfried and rides into the flames. Or he may have hoped to reenact the love-death of Tristan—whose music, he once told his secretary, he wished to hear as he died. Walther Funk thought that Hitler had modeled the scorched-earth policy of the regime's last phase on Wagner's grand finale: "Everything had to go down in ruins with Hitler him-self, as a sort of false Götterdämmerung" Such an extravagant gesture would have fulfilled the prophecy of Walter Benjamin, who wrote that fascist humanity would "experience its own annihilation as a supreme aesthetic pleasure." But there is no evidence that the drug-addled Führer was thinking about Wagner or listening to music in the last days and hours of his life. Eyewitness reports suggest that the grim ceremony in the bombed-out Chancellery garden—two gasoline-soaked corpses burning fitfully, the one intact, the other with its skull caved in—was something other than a work of art.

Losing my mother was the defining moment of my life. No other event would ever again so sharply etch its mark upon my soul, or so completely color the way I navigate the world, or leave my heart quite as broken. We had shared only a little over a decade together, yet I missed her with such intensity that she remained on the cusp of my every thought, the echoes of her face reverberating back to me each time I looked in the mirror.

She was Big Natasha and I was Little Natasha. We were Natasha.

I know I need to be a happy girl so my mom can be happy too. My success ensures her success. We are like the sweet peas tangled on a fence in the backyard, entwined.

Wagner looked back to what in a primordial past had held people together in communities, a selflessness that had to be left behind so that human beings could become more and more conscious. He had an intuitive presentiment about the future; he felt that once individual freedom and independence had been attained, humans would have to find the way back to fellowship and caring relationships. Selflessness would have to be consciously regained, and loving kindness once more would have to become a prominent factor of life. For Wagner the present linked itself with the future, for he visualized as a distant ideal the existence of selflessness within the arts. Furthermore, he saw art as playing a significant role in evolution. Human development and that of art appeared to him to go hand in hand; both became egoistical when they ceased to function as a totality. As we see them today, drama, architecture and dance have gone their independent ways. As humanity grew more and more selfish, so did art. Wagner visualized a future when the arts would once more function in united partnership. Because he saw a commune of artists as a future ideal, he was referred to as 'the communist.' . . . In older works of art, where dance, rhythm and harmony still collaborated, he recognized something of the musical-dramatic element of the artistic works of antiquity. He acquired a unique sense for harmony, for tonality in music, but insisted that contributions from related arts were essential. Something from them must flow into the music. One such related art was dance, not as it has become, but the dance that once expressed movements in nature and movements of the stars. In ancient times, dance originated from a feeling for laws in nature. Man in his own movements copied those in nature. Rhythm of dance was reflected in the harmony of the music. Other arts, such as poetry, whose vehicle is words, also contributed, and what could not be expressed through words was contributed by related arts. Harmonious collaboration existed among dance, music and poetry. The musical element arose from the cooperation of harmony, rhythm and melody. This was what mystics and also Richard Wagner felt as the spirit of art in ancient times, when the various arts worked together in brotherly fashion, when melody, rhythm and harmony had not yet attained their later perfection. When they separated, dance became an art form in its own right, and poetry likewise. Consequently, rhythm became a separate experience, and poetry no longer added its contribution to the musical element. No longer was there collaboration between the arts. In tracing the arts up to modern times, Wagner noticed that the egoism in art increased as human beings egoism increased.

I am going to tell a story: Once Upon A Time there was a man and a woman. The man and the woman were dreaming. The man and the woman dreamed each other and when they finished dreaming they had invented each other. So I am going to tell the story of a dream: Once upon a time there was a couple: the ideal couple, the perfect couple, the archetypal couple, who would combine in their two faces the features of all the lovers of history, all those who might have been able to fall in love with each other, all those ever imagined by the poets, and all those unimagined yet. They were (or would be) Abelard and Héloïse, Venus and Tannhäuser, Hamlet and Ophelia, Agathe and Ulrich, Solomon and the Shulamite maiden, the Consul and Yvonne, Daphnis and Chloe, Percy and Mary Shelley, the narrator and Albertine, Jocasta and Oedipus, Hans Castorp and Clavdia Chauchat, Pygmalion and Galatea, Othello and Desdemona, Penelope and Ulysses, Baudelaire and Jeanne Duval, Laura and Petrarch, Humbert Humbert and Lolita, Elizabeth Barrett and Robert Browning, Alonso Quijano and Dulcinea, Leda and the Swan, Adam and Eve, Wagner and Cosima, Pelléas and Mélisande, Cleopatra and Mark Antony, Calisto and Melibea, Faust and Gretchen, Orpheus and Eurydice, Romeo and Juliet, Heathcliff and Cathy, Tristan and Isolde, Rilke and Lou Andreas-Salome, Jason and Medea, Miranda and Ferdinand, Kafka and Milena, Electra and Agamemnon, Don Juan and Thisbe, von Aschenbach and Tadzio, Poe and Annabel Lee, Borges and Matilde Urbach. As the curtain rises they are kissing each other passionately in the middle of a steamy, shadowed park, underneath the pines. Is this not perhaps the ideal beginning of any love story? Not to forget that there is also a unicorn, a tree laden with garnet-colored fruit, and a large neon sign hanging above them both that reads: A Mon Suel Desir. If we look carefully we will notice that the park is surrounded by water on all sides—that is, this is an island. The story might well begin at any moment.

There was some belief that you could trick the evil ones, that those who stole children in the middle of the night only wanted the best children. If parents loved their child, then those were the children to take.” That was some twisted logic. That was like saying your pancakes tasted bad just so no one else would want any.

We’ll be okay, my love. I’ll make it okay. And there is some good news. Yeah? You defeated the one-eyed squirrel as I slept? I quipped. Tyrrik’s joy at my humor radiated through our bond. No, he said solemnly. He still runs rampant, leading a life of debauchery. Worse, he’s inspiring others to join his band of nefarious villainy. Did I think that one day I’d be flying next to Lord Nightmare listening to his jokes about squirrels? Not for a second. Obviously, it was the little things for him. We’re heading the wrong way then. He’s the real enemy.

Love is laying down our lives, our self-centered agendas, our “all about me” attitudes, our selfish selves. The death that love requires is … mine. Love is laying it all down in order to truly give rather than take. But this kind of love, true love, can only be birthed through the grace that is the fruit of humility.

I’m scared too. I can’t promise you forever. I can’t even guarantee six months. I don’t know what I’m doing or if I’m good enough, but it feels right. The only thing I know is that if we don’t try, we’ll never know what could be. It’s a leap of faith. Jump with me, take a chance on us.

Everyone I’ve ever loved has left me and each one of them has left permanent scars on my heart. So, although you can’t see them, I do have tattoos. I have a tattooed heart.

Wagner's basic idea was of mystical origin; he wanted to understand the whole human being, the inner person as well as what he revealed outwardly. Wagner knew that within human beings a higher being resides, a higher self that was only partially revealed in space and time. He sought to understand that higher entity that rises above the everyday. He felt that it must approached from as many sides as possible. His search for the superhuman aspect of man's being, for that which rises above the merely personal, led him to myths. Mythical figures were not merely human, they were superhuman: They revealed the superhuman aspect of a person's being. Characters like Siegfried and Lohengrin do not display qualities belonging to a single human being, but to many. Wagner turned to the superhuman figures portrayed in myths because he sought understanding of the deeper aspects of the human being. . . . We can do no more than turn a few spotlights on Wagner's inner experiences as an artist. In so doing we soon discover his strong affinity with what could be called 'man's mythical past.' His particular interest in the figure of Siegfried can easily be understood when seen in connection with his concept of mankind's evolution. Looking back to ancient times, Wagner saw that formerly the bond between human beings was based on selfless love within the confines of a tribe. Human consciousness at that time was duller; he did not yet experience personal independence. Each one felt himself, not so much an individual, but rather as a member of his tribe. He experienced the tribal soul as a reality.

God's love grounds me while His mystery confounds me. He is a personal yet all-powerful; in me yet around me; creates me yet dies for me.

Obeying God's laws doesn't make us holy because we are already holy in Christ. Obeying God's laws reveals our love and unleashes God's best!

We can love God out of emotion; but when we can love Him out of emotion, knowledge and strength, our faith will thrive through all things.

The beauty of grace is that God chooses to use imperfect people to demonstrate His perfect glory, love and Truth to this world.

God allows our circumstances to change, so we can learn to love Him in all situations. Our love for God is based on an unchanging Jesus.

Our love for the Lord can be the same in the silence and the storm, in the winning and the losing, and in the abundance and the lack.

When Jesus tells us to sit and wait, we either want to create chaos or fall asleep. But we can wait expectantly, remaining in truth & love.

There are exes with whom it is too dangerous to allow even a moment’s eye contact. These are not exes at all, and never will be, and that’s the problem.

There’s only one time in your life when you can burn all the way down and walk away stronger. Waste your youth. That’s what it’s for. Don’t hold back. Love until it hurts. The fire will fade. You’re going to die.