Work For Applause Quotes

We must do our work for its own sake, not for fortune or attention or applause.

You must be prepared to work always without applause.

The absence of romance in my history will, I fear, detract somewhat from its interest, but if it is judged worthy by those inquirers who desire an exact knowledge of the past as an aid to the understanding of the future, which in the course of human things must resemble if it does not reflect it, I shall be content. In fine I have written my work not as an essay with which to win the applause of the moment but as a possession for all time.

Whoever thinks a faultless piece to see, Thinks what ne'er was, nor is, nor e'er shall be, In every work regard the writer's end, Since none can compass more than they intend; And if the means be just, the conduct true, Applause, in spite of trivial faults, is due.

It is the work that matters, not the applause that follows.

Work for a cause David, not for applause. Remember to live your life to express, not to impress, don’t strive to make your presence noticed, just make your absence felt. - Lichtenstein

I don't expect congratulations for successful beginning, what I want is the applaud at successful ending.

Would a musician feel flattered by the loud applause of an audience if he knew that they were nearly all deaf, and that, to conceal their infirmity, they set to work to clap vigorously as soon as ever they saw one or two persons applauding?

Work hard for a cause, not for applause. Live life to express, not to impress. Don’t strive to make your presence noticed, just make your absence felt.

Men do not know why they award fame to one work of art rather than another. Without being in the faintest connoisseurs, they think to justify the warmth of their commendations by discovering it in a hundred virtues, whereas the real ground of their applause is inexplicable--it is sumpathy.

Those who do soul work, who want the searing truth more than solace or applause, know each other right away. Those who want something else turn and take a seat in another room. Soul-makers find each other's company.

When service is unto people, the bones can grow weary, the frustration deep. Because, agrees Dorothy Sayers, "whenever man is made the center of things, he becomes the storm-center of trouble. The moment you think of serving people, you begin to have a notion that other people owe you something for your pains...You will begin to bargain for reward, to angle for applause... When the eyes of the heart focus on God, and the hands on always washing the feet of Jesus alone - the bones, they sing joy and the work returns to it's purest state: eucharisteo. The work becomes worship, a liturgy of thankfulness. "The work we do is only our love for Jesus in action" writes Mother Theresa. "If we pray the work...if we do it to Jesus, if we do it for Jesus, if we do it with Jesus... that's what makes us content." Deep joy is always in the touching of Christ - in whatever skin He comes to us in. Page 194

Silence. We like it when an audience is silent, when no one coughs, no one shuffles, no one cracks a nut, or uncorks an ale bottle with a sudden hiss. Silence means the play is working, and we have the audience in our power. To a player, that breathless silence is better than applause, and that morning in the great hall my audience was silent.

I have written my work, not as an essay which is to win the applause of the moment, but as a possession for all time.

I have found that there are three key steps to identifying your own core personal projects. First, think back to what you loved to do when you were a child. How did you answer the question of what you wanted to be when you grew up? The specific answer you gave may have been off the mark, but the underlying impulse was not. If you wanted to be a fireman, what did a fireman mean to you? A good man who rescued people in distress? A daredevil? Or the simple pleasure of operating a truck? If you wanted to be a dancer, was it because you got to wear a costume, or because you craved applause, or was it the pure joy of twirling around at lightning speed? You may have known more about who you were then than you do now. Second, pay attention to the work you gravitate to. At my law firm I never once volunteered to take on an extra corporate legal assignment, but I did spend a lot of time doing pro bono work for a nonprofit women’s leadership organization. I also sat on several law firm committees dedicated to mentoring, training, and personal development for young lawyers in the firm. Now, as you can probably tell from this book, I am not the committee type. But the goals of those committees lit me up, so that’s what I did. Finally, pay attention to what you envy. Jealousy is an ugly emotion, but it tells the truth. You mostly envy those who have what you desire.

The indescribable pleasure—which pales the rest of life's joys—is abundant compensation for the investigator who endures the painful and persevering analytical work that precedes the appearance of the new truth, like the pain of childbirth. It is true to say that nothing for the scientific scholar is comparable to the things that he has discovered. Indeed, it would be difficult to find an investigator willing to exchange the paternity of a scientific conquest for all the gold on earth. And if there are some who look to science as a way of acquiring gold instead of applause from the learned, and the personal satisfaction associated with the very act of discovery, they have chosen the wrong profession.

When Krishna instructed Arjuna that we have a right to our labor but not to the fruits of our labor, he was counseling the warrior to act territorially, not hierarchically. We must do our work for its own sake, not for fortune or attention or applause.

This applause is a plagiarism. Yesterday another audience applauded in exactly the same manner.

In ev'ry work regard the writer's end, Since none can compass more than they intend; And if the means be just, the conduct true, Applause, in spite of trivial faults, is due.

I have read your fantastical book "Mirror Mirror" with awe and applause! Working with you on my regional TV show for a year was a godsend...you are an inspiration. All success.

You'll never see a U-Haul behind a hearse,' Denzel Washington often said as we worked together on 'Fences.' 'I don't care how much money you have or what level of notoriety you've achieved, you can't take any of it with you.' There is a cap on earthly success, a ceiling on the amount of joy that possessions and awards can bring before disillusionment sets in. Our appearance, our prosperity, the applause: all of it is so fleeting. But a life of true significance has unlimited impact. It is measured in how well we've loved those around us, how much we've given away, how many seeds we've sown along our path. During her ninety-six years, Ms. [Cicely] Tyson has discovered the potent elixir: she has lived a life of that is bigger than she is, an existence grounded in purpose and flourishing in service to others. That is her defining masterpiece. That is her enduring gift to us all. [Viola Davis, Foreword]

The pleasure of work is open to anyone who can develop some specialized skill, provided that he can get satisfaction from the exercise of his skill without demanding universal applause.

I learned a simple lesson about being awesome: always play to the size of your heart, not to the size of your audience. Awesome doesn’t let the crowd determine the size of the performance. Awesome gets up for two people or 200. Awesome writes great books even if no one is going to read them. Awesome sweeps the parts of store floors that no foot will ever touch. Awesome can’t help itself. Awesome has a huge heart. And that’s what it always plays to. The size of the crowd doesn’t matter. The applause of the audience doesn’t matter.

what is the expression which the age demands? the age demands no expression whatever. we have seen photographs of bereaved asian mothers. we are not interested in the agony of your fumbled organs. there is nothing you can show on your face that can match the horror of this time. do not even try. you will only hold yourself up to the scorn of those who have felt things deeply. we have seen newsreels of humans in the extremities of pain and dislocation. you are playing to people who have experienced a catastrophe. this should make you very quiet. speak the words, convey the data, step aside. everyone knows you are in pain. you cannot tell the audience everything you know about love in every line of love you speak. step aside and they will know what you know because you know it already. you have nothing to teach them. you are not more beautiful than they are. you are not wiser. do not shout at them. do not force a dry entry. that is bad sex. if you show the lines of your genitals, then deliver what you promise. and remember that people do not really want an acrobat in bed. what is our need? to be close to the natural man, to be close to the natural woman. do not pretend that you are a beloved singer with a vast loyal audience which has followed the ups and downs of your life to this very moment. the bombs, flame-throwers, and all the shit have destroyed more than just the trees and villages. they have also destroyed the stage. did you think that your profession would escape the general destruction? there is no more stage. there are no more footlights. you are among the people. then be modest. speak the words, convey the data, step aside. be by yourself. be in your own room. do not put yourself on. do not act out words. never act out words. never try to leave the floor when you talk about flying. never close your eyes and jerk your head to one side when you talk about death. do not fix your burning eyes on me when you speak about love. if you want to impress me when you speak about love put your hand in your pocket or under your dress and play with yourself. if ambition and the hunger for applause have driven you to speak about love you should learn how to do it without disgracing yourself or the material. this is an interior landscape. it is inside. it is private. respect the privacy of the material. these pieces were written in silence. the courage of the play is to speak them. the discipline of the play is not to violate them. let the audience feel your love of privacy even though there is no privacy. be good whores. the poem is not a slogan. it cannot advertise you. it cannot promote your reputation for sensitivity. you are students of discipline. do not act out the words. the words die when you act them out, they wither, and we are left with nothing but your ambition. the poem is nothing but information. it is the constitution of the inner country. if you declaim it and blow it up with noble intentions then you are no better than the politicians whom you despise. you are just someone waving a flag and making the cheapest kind of appeal to a kind of emotional patriotism. think of the words as science, not as art. they are a report. you are speaking before a meeting of the explorers' club of the national geographic society. these people know all the risks of mountain climbing. they honour you by taking this for granted. if you rub their faces in it that is an insult to their hospitality. do not work the audience for gasps ans sighs. if you are worthy of gasps and sighs it will not be from your appreciation of the event but from theirs. it will be in the statistics and not the trembling of the voice or the cutting of the air with your hands. it will be in the data and the quiet organization of your presence. avoid the flourish. do not be afraid to be weak. do not be ashamed to be tired. you look good when you're tired. you look like you could go on forever. now come into my arms. you are the image of my beauty.

The absence of romance in my history will, I fear, detract somewhat from its interest; but if it be judged useful by those inquirers who desire an exact knowledge of the past as an aid to the understanding of the future, which in the course of human things must resemble if it does not reflect it, I shall be content. In fine, I have written my work, not as an essay which is to win the applause of the moment, but as a possession for all time.

There are lots of things ordinary people can do that I can’t. That’s for sure. Playing tennis, skiing, for instance. Working in a company, having a happy family. On the other hand, there are a few things I can do that most other people can’t. And I do these few things very, very well. I’m not expecting applause or for people to shower me with coins. But I do need to show the world what I’m capable of.

Men do not know why they award fame to one work of art rather than another. Without being in the faintest connoisseurs, they think to justify the warmth of their commendations by discovering it in a hundred virtues, whereas the real ground of their applause is inexplicable-it is sympathy.

We took 9000 fans to The Emirates to play Arsenal in the quarter-finals of the FA Cup, and we sang non-stop. But the place is a bloody library! About every twenty minutes or so their 40,000 crowd would half-heartedly sing their Ars-suh-nul song, and to encourage them we’d give them a round of applause. But even that didn’t work. Whatever we did we couldn’t give their fans the much-needed boost they evidently needed to support their own team

The absence of romance in my history will, I fear, detract somewhat from its interest; but if it be judged useful by those inquirers who desire an exact knowledge of the past as an aid to the interpretation of the future, which in the course of human things must resemble if it does not reflect it, I shall be content. In fine, I have written my work, not as an essay which is to win the applause of the moment, but as a possession for all time.

whose merit is loudly celebrated by the doubtful evidence of his own applause.

When someone steals your original ideas? Feel sorry for them. When someone steals your thunder or applause? Feel sorry for them. When someone doesn't support your dreams or work ? Feel sorry for them. But when someone steals your truth, your voice, your heart or your words? Feel truly sorry for them And then kick their ass. It's yours. Because you've been way too fucking polite.

as long as mankind shall continue to bestow more liberal applause on their destroyers than on their benefactors, the thirst of military glory will ever be the vice of the most exalted characters.

We must decide where we want our ministry to count—in the momentary applause of popular recognition or in the reproduction of our lives in a few chosen people who will carry on our work after we have gone.

So long as you are self-obsessed, applause and mockery will equally impair your capacity. Wipe out every trace of self-obsession and you'll learn to work through both applause and mockery - and you'll rise as the true victor of time.

Fabian didn't flinch under Vlad's harsh analysis. "You have no idea what it's like, existing between worlds," he said, floating closer instead of backing away. "We are neither the living or the undead. It takes years to cope with the fact that even though over ninety-nine percent of everyone who dies crosses over to the next place, you are left behind. Years to accept that everything you worked for in your life is gone, and the shell of memory is all that remains. Years to recover from hopelessly trying to communicate with loved ones, only to fail time and again because no one except the crazed, psychics, the undead, or other ghosts can see you. Years to accept---even if you don't understand why---that vampires and ghouls will treat you worse that they do vermin, even though they are no human than you are." Fabian advanced again, until his finger disappeared into Vlad's chest. "I'd dare the strongest of your race or any other to say that they've conquered the same hardships my people have overcome. So think again before you question a ghost's worth, or judge those younger ones who are still in the process of becoming tougher than anyone tied to flesh will ever be." Stunned silence filled the air once Fabian was finished. I wanted to break out in apologies and applause all at the same time, but I was still recovering from my shock at how my mild-mannered, Casperesque friend had just unloaded a truck full of I-dare-yous onto one of the scariest vampires in existence. Damned if I would ever underestimate a ghost's chutzpah again, or question their fortitude. Being noncorporeal clearly didn't equate to lacking a pair of balls.

[The young communist] must always pay attention to the mass of human beings he lives among. Every Young Communist must fundamentally be hu­man, so human that he draws closer to humanity's best qualities. Through work, through study, and through ongoing solidarity with the people and all the peoples of the world, he distills the best of what man is. Developing to the utmost the sensitivity to feel an­guish when a human being is murdered in any corner of the world and to feel enthusiasm when a new banner of freedom is raised in any corner of the world. [Applause] The Young Communist cannot be limited by national borders. The Young Communist must practice proletarian internationalism and feel it as his own.

What are you doing tonight?" "I don't know, what are you doing?" Burlesque! Loew's Paradise! Miserable and lonely! Miserable and lonely and stupid! What am I, crazy or something?! I got something good! What am I hanging around with you guys for?!

For me personally, The Organic Creative Process helped me to discover what kind of actor I want to be; but this is a process that goes beyond acting. It actually revealed to me what I want to do in my life and that I have to work hard to make it real.

We must decide where we want our ministry to count—in the momentary applause of popular recognition or in the reproduction of our lives in a few chosen people who will carry on our work after we have gone. Really it is a question of which generation we are living for.

Imagine you work hard to prepare a talk on a subject you care about. You get your message across, and when you finish the audience rises to its feet, its clapping sustained and sincere. One person might leave the room feeling, “I’m glad I got my message across, but I’m also happy it’s over; now I can get back to the rest of my life.” Another person, more sensitive to buzz, might walk away feeling, “What a trip! Did you hear that applause? Did you see the expression on their faces when I made that life-changing point? This is great!” But

A baby almost killed me as I walked to work one morning. By passing beneath a bus shelter's roof at the ordained moment I lived to tell my tale. With strangers surrounding me I looked at what remained. Laoughter from heaven made us lift our eyes skyward. The baby's mother lowered her arms and leaned out her window. Without applause her audience drifted off, seeking crumbs in the gutters of this city of God. Xerox shingles covered the shelter's remaining glass pane, and the largest read: Want to be crucified. Have own nails. Leave message on machine. The fringe of numbers along the ad's hem had been stripped away. My shoes crunched glass underfoot; my skirt clung to my legs as I continued down the street. November dawn's seventy-degree bath made my hair lose its set. Mother above appeared ready to take her own bow; I too, as ever, flew on alone.

...For all the profound human modesty of Comrade Stalin,he will have to tolerate our outpourings of love and loyalty to him[applause],because not only we,who live and work under his direction,but all the working people in our land,tie their hopes for a radiant future for mankind to his name.[Applause] 'Listen,why should I read this? Let's go' Gleb repeated. All right.All right. But what do you think? -He's flunky! -But he wrote The Quiet Don,a great novel. In the twenties there was doubt about his authorship.They even had a special commission to investigate. I heard something about that. Akimov told me.The read author was some White officer.But no one would acknowledge that...If The Quiet Don is a work of genius,the author cannot be flunky.As your beloved Pushkin said,dearie,genius and evil are incompatible. Not every genius can overcome fear.And Sholokhov is no genius.

To Nobodaddy Why art thou silent & invisible, Father of Jealousy? Why dost thou hide thyself in clouds From every searching Eye? Why darkness & obscurity In all thy works & laws, That none dare eat the fruit but from Thy wily serpent's jaws? Or is it because Secrecy Gains females' loud applause?

When service is unto people, the bones can grow weary, the frustration deep. Because, agrees Dorothy Sayers, 'whenever man is made the centre of things, he becomes the storm-centre of trouble. The moment you think of serving people, you begin to have a notion that other people owe you something for your pains... You will begin to bargain for reward, to angle for applause.' When the laundry is for the dozen arms of children or the dozen legs, it's true, I think I'm due some appreciation. So comes a storm of trouble and lightning strikes joy. But when Christ is center, when dishes, laundry, work, is my song of thanks to Him, joy rains. Passionately serving Christ alone makes us the loving servant to all. When the eyes of the heart focus on God, and the hands on always washing the feet of Jesus alone - the bones, they sing joy, and the work returns to it's purest state: eucharisteo. The work becomes worship, a liturgy of thankfulness.

If he bleeds to death on the pavilion floor, will he truly have died? Or will the web-work of mosquito curtains draw up into the heavens, amid thunderous applause, and his comrades lift him by the arms? Will the sick, lame, and the dying walk again, missing limbs restored? Will the dead enter from the wings to take a bow?

A man whose identity flows out of deep validation doesn’t wilt under criticism. He enjoys applause when it comes but frankly isn’t desperate for it. He can walk away from work at five o’clock; he doesn’t measure his success by how much money he makes. We grow into this man, to be sure; I’m not setting a new standard of perfection. But what I am describing

At College, you know, we just started automatically writing the kind of essays that got good marks and saying the kind of things that won applause. When, in our whole lives, did we honestly face, in solitude, the one question on which all turned: whether after all the Supernatural might not in fact occur? When did we put up one moment’s real resistance to the loss of our faith?

Where I live, being considered “good” has little to nothing to do with institutional religion. The social benchmarks for moral applause have more to do with whether one eats organic, rides his or her bike to work, and supports a humanitarian initiative in Africa. Things like these—even if good things that contribute to the flourishing of our world, in a manner similar to many traditional religious works—comprise our contemporary bars of righteousness by which one’s social capital is improved. In corporate culture, these bars may have more to do with how much money we’ve made or the size of our portfolio. In political culture, how much power we’ve attained or the heights up the ladder we’ve climbed. In popular culture, how much sex we’ve had or the number of Twitter followers who are interested in what we have to say. The cultural decline of institutional religion has simply meant the relocation, not the destruction, of social norms through which we pursue personal justification and social acceptance for our existence.

Yes, Jo was a very happy woman there, in spite of hard work, much anxiety, and a perpetual racket. She enjoyed it heartily and found the applause of her boys more satisfying than any praise of the world, for now she told no stories except to her flock of enthusiastic believers and admirers. As the years went on, two little lads of her own came to increase her happiness—Rob, named for Grandpa, and Teddy, a happy-go-lucky baby, who seemed to have inherited his papa's sunshiny temper as well as his mother's lively spirit. How

Imagine you work hard to prepare a talk on a subject you care about. You get your message across, and when you finish the audience rises to its feet, its clapping sustained and sincere. One person might leave the room feeling, “I’m glad I got my message across, but I’m also happy it’s over; now I can get back to the rest of my life.” Another person, more sensitive to buzz, might walk away feeling, “What a trip! Did you hear that applause? Did you see the expression on their faces when I made that life-changing point? This is great!

the irony of which was not lost on the audience. The Capitol had tried to take everything from Lucy Gray, and it had utterly failed. When the applause died out, she gave Maude Ivory a nod. The girl ran behind the blanket and appeared carrying a basket woven with cheerful ribbons. “Thank you kindly,” said Lucy Gray. “Now, you all know how this works. We don’t charge for tickets, because sometimes hungry people need music the most. But we get hungry, too. So if you’d like to contribute, Maude Ivory will be around with the basket. We thank you in advance.

To the enormous majority of persons who risk themselves in literature, not even the smallest measure of success can fall. They had better take to some other profession as quickly as may be, they are only making a sure thing of disappointment, only crowding the narrow gates of fortune and fame. Yet there are others to whom success, though easily within their reach, does not seem a thing to be grasped at. Of two such, the pathetic story may be read, in the Memoir of A Scotch Probationer, Mr. Thomas Davidson, who died young, an unplaced Minister of the United Presbyterian Church, in 1869. He died young, unaccepted by the world, unheard of, uncomplaining, soon after writing his latest song on the first grey hairs of the lady whom he loved. And she, Miss Alison Dunlop, died also, a year ago, leaving a little work newly published, Anent Old Edinburgh, in which is briefly told the story of her life. There can hardly be a true tale more brave and honourable, for those two were eminently qualified to shine, with a clear and modest radiance, in letters. Both had a touch of poetry, Mr. Davidson left a few genuine poems, both had humour, knowledge, patience, industry, and literary conscientiousness. No success came to them, they did not even seek it, though it was easily within the reach of their powers. Yet none can call them failures, leaving, as they did, the fragrance of honourable and uncomplaining lives, and such brief records of these as to delight, and console and encourage us all. They bequeath to us the spectacle of a real triumph far beyond the petty gains of money or of applause, the spectacle of lives made happy by literature, unvexed by notoriety, unfretted by envy. What we call success could never have yielded them so much, for the ways of authorship are dusty and stony, and the stones are only too handy for throwing at the few that, deservedly or undeservedly, make a name, and therewith about one-tenth of the wealth which is ungrudged to physicians, or barristers, or stock-brokers, or dentists, or electricians. If literature and occupation with letters were not its own reward, truly they who seem to succeed might envy those who fail. It is not wealth that they win, as fortunate men in other professions count wealth; it is not rank nor fashion that come to their call nor come to call on them. Their success is to be let dwell with their own fancies, or with the imaginations of others far greater than themselves; their success is this living in fantasy, a little remote from the hubbub and the contests of the world. At the best they will be vexed by curious eyes and idle tongues, at the best they will die not rich in this world’s goods, yet not unconsoled by the friendships which they win among men and women whose faces they will never see. They may well be content, and thrice content, with their lot, yet it is not a lot which should provoke envy, nor be coveted by ambition.

As you never tire of stating, the only moral imperative for the writer, against which there is no recourse, is to return to the literary-linguistic community to which he belongs a fresh, personal style of writing different from what previously existed and which he inherited when setting out on his task: to work on what is given, to follow accepted models is to be condemned to an impoverished insignificance, however much applause the writer gets from the public: the work of whoever does not innovate might as well not exist, for its disappearance would not affect the development of his culture at all.

I came to realize that this was about more than not offering up what some of his opponents craved—the picture of the angry black man, or the lectures on race that fuel a sense of grievance among white voters. Obama also didn’t want to offer up gauzy words to make well-meaning white people feel better. The fact that he was a black president wasn’t going to bring life back to an unarmed black kid who was shot, or alter structural inequities in housing, education, and incarceration in our states and cities. It wasn’t going to change the investment of powerful interests in a system that sought to deny voting rights, or to cast people on food stamps working minimum wage jobs as “takers,” incapable of making it on their own. The “last person who ever thought that Barack Obama’s election was going to bring racial reconciliation and some “end of race” in America was Barack Obama. That was a white person’s concept imposed upon his campaign. I know because I was once one of them, taking delight in writing words about American progress, concluding in the applause line “And that is why I can stand before you as president of the United States.” But he couldn’t offer up absolution for America’s racial sins, or transform American society in four or eight years.

The trouble with Hemingway’s cabin in the woods is that it’s a cabin and it’s in the woods. The Beatles didn’t get good by renting a self-storage garage in the boonies and doing their ten thousand hours in solitude. There seems to be an audience component to getting good, even if the audience happens to be in a Hamburg strip club. Yes, young writers need to log long hours with their tools, but once their solitary work’s done, they need to talk and compare notes with other apprentices, as well as mentors. With others, they need to test their sense of what’s working and what isn’t. Hearing even drunken applause is important; it helps you keep going.

While the politicians ?" asked Jakub, and went on: "I'll tell you. If science and art are in fact the proper, real arenas of history, politics on the contrary is the closed scientific laboratory where unprecedented experiments are conducted on mankind. There human guinea pigs are hurled through trap doors and then brought back onto the stage, tempted by applause and terrified by the gallows, denounced and forced to denounce. I worked in that lab as an assistant, but I also served there several times as a victim of vivisection. I know that I created nothing of value there (no more than those who worked with me did), but I probably came to understand better than others what man is.

the sheep in centuries past audiences at symphony concerts were not afraid to act out their displeasure at works which offended them. in our time I have either attended or listened to hundreds of concerts and never have I heard an audience express even the mildest displeasure with any work. have our musical artists improved to such an extent? or is it the decay of courage, the inability of the mass mind to reach its own decisions? not only in the world of music but in the other world? the next time you hear a symphony concert note the obedient applause, the death of the bluebird, the shading of the sun; the hooves of the horses from hell pounding on the barren ground of the human spirit.

The young man of leadership caliber will work while others waste time, study while others snooze, pray while others daydream. Slothful habits are overcome, whether in thought, deed, or dress. The emerging leader eats right, stands tall, and prepares himself to wage spiritual warfare. He will without reluctance undertake the unpleasant task that others avoid or the hidden duty that others evade because it wins no public applause. As the Spirit fills his life, he learns not to shrink from difficult situations or retreat from hard-edged people. He will kindly and courageously administer rebuke when that is called for, or he will exercise the necessary discipline when the interests of the Lord's work demand it. He will not procrastinate, but will prefer to dispatch with the hardest tasks first.

Appendix 1 Seven Points and Fifty-Nine Slogans for Generating Compassion and Resilience POINT ONE Resolve to Begin 1. Train in the preliminaries. POINT TWO Train in Empathy and Compassion: Absolute Compassion 2. See everything as a dream. 3. Examine the nature of awareness. 4. Don’t get stuck on peace. 5. Rest in the openness of mind. 6. In Postmeditation be a child of illusion. POINT TWO Train in Empathy and Compassion: Relative Compassion 7. Practice sending and receiving alternately on the breath. 8. Begin sending and receiving practice with yourself. 9. Turn things around (Three objects, three poisons, three virtues). 10. Always train with the slogans. POINT THREE Transform Bad Circumstances into the Path 11. Turn all mishaps into the path. 12. Drive all blames into one. 13. Be grateful to everyone. 14. See confusion as Buddha and practice emptiness. 15. Do good, avoid evil, appreciate your lunacy, pray for help. 16. Whatever you meet is the path. POINT FOUR Make Practice Your Whole Life 17. Cultivate a serious attitude (Practice the five strengths). 18. Practice for death as well as for life. POINT FIVE Assess and Extend 19. There’s only one point. 20. Trust your own eyes. 21. Maintain joy (and don’t lose your sense of humor). 22. Practice when you’re distracted. POINT SIX The Discipline of Relationship 23. Come back to basics. 24. Don’t be a phony. 25. Don’t talk about faults. 26. Don’t figure others out. 27. Work with your biggest problems first. 28. Abandon hope. 29. Don’t poison yourself. 30. Don’t be so predictable. 31. Don’t malign others. 32. Don’t wait in ambush. 33. Don’t make everything so painful. 34. Don’t unload on everyone. 35. Don’t go so fast. 36. Don’t be tricky. 37. Don’t make gods into demons. 38. Don’t rejoice at others’ pain. POINT SEVEN Living with Ease in a Crazy World 39. Keep a single intention. 40. Correct all wrongs with one intention. 41. Begin at the beginning, end at the end. 42. Be patient either way. 43. Observe, even if it costs you everything. 44. Train in three difficulties. 45. Take on the three causes. 46. Don’t lose track. 47. Keep the three inseparable. 48. Train wholeheartedly, openly, and constantly. 49. Stay close to your resentment. 50. Don’t be swayed by circumstances. 51. This time get it right! 52. Don’t misinterpret. 53. Don’t vacillate. 54. Be wholehearted. 55. Examine and analyze. 56. Don’t wallow. 57. Don’t be jealous. 58. Don’t be frivolous. 59. Don’t expect applause.

The firm’s fourth partner, Jeff Nussbaum, had carved out a niche writing jokes for public figures. It was he who taught me about the delicate balance all public-sector humorists hope to strike. Writing something funny for a politician, I learned, is like designing something stunning for Marlon Brando past his prime. The qualifier is everything. At first I didn’t understand this. In June, President Obama’s speechwriters asked Jeff to pitch jokes for an upcoming appearance at the Radio and Television Correspondents’ Dinner. I sent him a few ideas, including one about the president and First Lady’s recent trip to see a Broadway show: “My critics are upset it cost taxpayer dollars to fly me and Michelle to New York for date night. But let me be clear. That wasn’t spending. It was stimulus.” Unsurprisingly, my line about stimulating America’s first couple didn’t make it into the script. But others did. The morning after the speech, I watched on YouTube as President Obama turned to NBC reporter Chuck Todd. “Chuck embodies the best of both worlds: he has the rapid-fire style of a television correspondent, and the facial hair of a radio correspondent.” That was my joke! I grabbed the scroll bar and watched again. The line wasn’t genius. The applause was largely polite. Still, I was dumbfounded. A thought entered my brain, and then, just a few days later, exited the mouth of the president of the United States. This was magic. Still, even then, I had no illusions of becoming a presidential speechwriter. When friends asked if I hoped to work in the White House, I told them Obama had more than enough writers already. I meant it.

Anyway, there is an essential difference in gender that isn't politically correct to mention these days. Women are the ones to bear the children after all. They are the ones to nurse. They are the ones, traditionally, who care for the infants. That takes a huge amount of time.' He smiled, waiting for the applause, but something had gone wrong. There was a cold silence from the crowd... 'Did you just say that women aren't creative geniuses because they have babies?' 'No," he said, 'No. Not because. I wouldn't say that. I love women, and not all women have babies. My wife, for one, at least not yet. But listen, we're all given a finite amount of creativity, just like we;re given a finite amount of life, and if a woman continues to spend hers creating actual life and not imaginary life, that's a glorious choice. When a woman has a baby, she's creating so much more than just a world on the page, she's creating life itself, not just a simulacrum. No matter what Shakespeare did, it's so much less than your average illiterate woman of his age who had babies. Those babies were our ancestors, necessary to make everyone here today, and no one could seriously argue that any play is worth a single human wife. I mean the history of the stage supports me here. If women have historically demonstrated less creative genius than men, it's because they're making their creations internal, spending the energies on life itself. It's a kind of bodily genius. You can't tell me that isn't at least as worthy as genius of imagination. I think we can all agree that women are just as good as men, better in many ways. But the reason for the disparity in creation, is because women have turned their creative energies inward not outward.

Ignorance lowers you, curiosity elevates you; knowledge puts you on a higher pedestal than information. Confusion lowers you, understanding elevates you; discernment puts you on a higher pedestal than intellect. Imprudence lowers you, insight elevates you; wisdom puts you on a higher pedestal than perception. Greed lowers you, contentment elevates you; peace puts you on a higher pedestal than indifference. Bitterness lowers you, happiness elevates you; joy puts you on a higher pedestal than pleasure. Anger lowers you, patience elevates you; longstanding puts you on a higher pedestal than tolerance. Cruelty lowers you, compassion elevates you; kindness puts you on a higher pedestal than apathy. Despair lowers you, hope elevates you; perseverance puts you on a higher pedestal than dispassion. Fear lowers you, courage elevates you; faith puts you on a higher pedestal than confidence. Hatred lowers you, mercy elevates you; love puts you on a higher pedestal than sympathy. Illiteracy lowers you, education elevates you; enlightenment puts you on a higher pedestal than talent. Imitating lowers you, creativity elevates you; originality puts you on a higher pedestal than innovation. Incompetence lowers you, skill elevates you; excellence puts you on a higher pedestal than enthusiasm. Laziness lowers you, hard work elevates you; diligence puts you on a higher pedestal competence. Failure lowers you, perseverance elevates you; success puts you on a higher pedestal than ambition. Mediocrity lowers you, talent elevates you; genius puts you on a higher pedestal than aptitude. Obscurity lowers you, fame elevates you; influence puts you on a higher pedestal than popularity. Ego lowers you, honor elevates you; humility puts you on a higher pedestal than applause. Poverty lowers you, success elevates you; wealth puts you on a higher pedestal than prominence. Dishonor lowers you, esteem elevates you; character puts you on a higher pedestal than reputation.

Our feelings belong to one world, our ability to name things and our thoughts belong to another; we can establish a concordance between the two, but not bridge the gap. And it was something like this gap, this fault, that I had to cross when, the first time I went to see La Berma act, and after straining to catch her every word, I had found some difficulty in connecting my ideas of “nobility of interpretation” and “originality” and had broken into applause only after a moment’s blankness, and as if my applause did not spring from my actual impression but was somehow linked to my preconceived ideas and to the pleasure I felt in saying to myself, “At last I am listening to La Berma.” And the difference that exists between a person or a work of art of strongly individual character and the idea of beauty exists just as much between what it makes us feel and the idea of love or admiration. Listening to La Berma had given me no pleasure (any more than seeing Gilberte). I had said to myself, “So I don’t admire her.” Yet all the while I was thinking only about deepening my understanding of her acting, I was preoccupied with that alone, and I was trying to open my mind as wide as possible to grasp everything that was involved in her acting; I now understood that this was exactly what admiration was.

The pathbreaker who disdains the applause he may get from the crowd of his contemporaries does not depend on his own age's ideas. He is free to say with Schillers Marquis Posa: "This century is not ripe for my ideas; I live as a citizen of centuries to come." The genius' work too is embedded in the sequence of historical events, is conditioned by the achievements of preceding generations, and is merely a chapter in the evolution of ideas. But it adds something new and unheard of to the treasure of thoughts and may in this sense be called creative. The genuine history of mankind is the history of ideas. It is ideas that distinguish man from ali other beings. Ideas engender social institutions, political changes, technological methods of production, and ali that is called economic conditions. And in searching for their origin we inevitably come to a point at which ali that can be asserted is that a man had an idea. Whether the name of this man is known or not is of secondary importance. This is the meaning that history attaches to the notion of individuality. Ideas are the ultimate given of historical inquiry. Ali that can be said about ideas is that they carne to pass. The historian may point out how a new idea fitted into the ideas developed by earlier generations and how it may be considered a continuation of these ideas and their logical sequei.

Extract from 'Quixotic Ambitions': The crowd stared at Katy expectantly. She looked at them - old women in black, exhausted young women with pasty-faced children, youths in jeans and leather blousons chewing gum. She tried to speak but the words wouldn’t come. Then, with a sudden burst of energy, she blurted out her short speech, thanking the people of Shkrapova for their welcome and promising that if she won the referendum she would work for the good of Maloslavia. There was some half-hearted applause and an old lady hobbled up to her, knelt down with difficulty, and kissed the hem of her skirt. She looked at Katy with tears rolling down her face and gabbled something excitedly. Dimitar translated: ‘She says that she remembers the reign of your grandfather and that God has sent you to Maloslavia.’ Katy was embarrassed but she smiled at the woman and helped her to her feet. At this moment the People’s Struggle Pioneers appeared on the scene, waving their banners and shouting ‘Doloy Manaheeyoo! Popnikov President!’ Police had been stationed at strategic points and quickly dispersed the demonstrators without any display of violence, but the angry cries of ‘Down with the monarchy!’ had a depressing effect on the entertainment that had been planned; only a few people remained to watch it. A group of children aged between ten and twelve ran into the square and performed a series of dances accompanied by an accordian. They stamped their feet and clapped their hands frequently and occasionally collided with one another when they forgot their next move. The girls wore embroidered blouses, stiffly pleated skirts and scarlet boots and the boys were in baggy linen shirts and trousers, the legs of which were bound with leather thongs. Their enthusiasm compensated for their mistakes and they were loudly applauded. The male voice choir which followed consisted of twelve young men who sang complicated polyphonic melodies with a high, curiously nasal tenor line accompanied by an unusually deep droning bass. Some of their songs were the cries of despair of a people who had suffered under Turkish occupation; others were lively dance tunes for feast days and festivals. They were definitely an acquired taste and Katy, who was beginning to feel hungry, longed for them to come to an end. At last, at two o’clock, the performance finished and trestle tables were set up in the square. Dishes of various salads, hors-d’oeuvres and oriental pastries appeared, along with casks of beer and bottles of the local red wine. The people who had disappeared during the brief demonstration came back and started piling food on to paper plates. A few of the People’s Struggle Pioneers also showed up again and mingled with the crowd, greedily eating anything that took their fancy.

This democracy we have is a precious thing. For all the arguments and all the doubts and all the cynicism that’s out there today, we should never forget that as Americans, we enjoy more freedoms and opportunities than citizens in any other nation on Earth. (Applause.) We are free to speak our mind and worship as we please. We are free to choose our leaders, and criticize them if they let us down. We have the chance to get an education, and work hard, and give our children a better life. None of this came easy. None of this was preordained. The men and women who sat in your chairs 10 years ago and 50 years ago and 100 years ago –- they made America possible through their toil and their endurance and their imagination and their faith. Their success, and America’s success, was never a given. And there is no guarantee that the graduates who will sit in these same seats 10 years from now, or 50 years from now, or 100 years from now, will enjoy the same freedoms and opportunities that you do. You, too, will have to strive. You, too, will have to push the boundaries of what seems possible. For the truth is, our nation’s destiny has never been certain. What is certain -– what has always been certain -– is the ability to shape that destiny. That is what makes us different. That is what sets us apart. That is what makes us Americans -– our ability at the end of the day to look past all of our differences and all of our disagreements and still forge a common future. That task is now in your hands, as is the answer to the question posed at this university half a century ago about whether a free society can still compete.

win. I thought the bureaucrats who had overseen the Emergency Rental Assistance program deserved a parade. They had to settle for scattered applause. When the ERA program was sputtering in the unsteady early days, it seemed that everyone was writing and tweeting about it. Later, when the rollout was working, it was ignored. Because journalists and pundits and social influencers did not celebrate the program, ERA garnered few champions in Washington. Elected leaders learned that they could direct serious federal resources to fighting evictions, make a real dent in the problem, and reap little credit for it. So, the Emergency Rental Assistance program became a temporary program, and we returned to normal, to a society where seven eviction filings are issued every minute.[31] Imagine if we had met the results of the ERA program with loud cheers. Imagine if we had taken to social media and gushed over what a difference it had made. Imagine if newspapers had run headlines that read, “Biden Administration Passes Most Important Eviction Prevention Measure in American History.” Imagine if we’d worked together to ensure that the low eviction regime established during the pandemic became the new normal. But we chose to shrug instead. Poor renters in the future will pay for this, as will the Democratic Party, incessantly blamed for having a “messaging problem” when perhaps the matter is that liberals have a despondency problem: fluent in the language of grievance and bumbling in the language of repair. Meaningful, tangible change had arrived, and we couldn’t see it. When we refuse to recognize what works, we risk swallowing the lie that nothing does.

TO ACHIEVE THE peace between Israel and Arab states we had overcome many obstacles, none more enduring than the obsessive belief in the centrality of the Palestinian issue and the need to achieve a Palestinian-Israeli peace before any other peace could be made. John Kerry, like so many others, had held that belief, and he expressed it in December 2016 during a conference in Washington attended by many of my political opponents, invited especially from Israel to hear it: There will be no separate peace between Israel and the Arab world. I want to make that very clear to all of you. I’ve heard several prominent politicians in Israel sometimes saying “Well, the Arab world is in a different place now, we just have to reach out to them and we can work some things with the Arab world and we’ll deal with the Palestinians.” No, no, no and no… There will be no advance and separate peace with the Arab world without the Palestinian process and Palestinian peace. Everyone needs to understand that. That is a hard reality. When Kerry finished delivering his remarks, he received thunderous applause. It was only by breaking out of this flawed way of thinking, however, that true progress was made. In its first seventy-two years, Israel made peace with two Arab countries, Egypt and Jordan. In the span of four months, Israel had made peace with four more. By building Israel’s power and challenging Iran, we had made Israel an attractive ally to our Arab neighbors. By bypassing the Palestinians, we could now achieve four diplomatic breakthroughs and sign four historic agreements. This was truly a New Middle East, one built on real strength and no false illusions.

To prove to an indignant questioner on the spur of the moment that the work I do was useful seemed a thankless task and I gave it up. I turned to him with a smile and finished, 'To tell you the truth we don't do it because it is useful but because it's amusing.' The answer was thought of and given in a moment: it came from deep down in my mind, and the results were as admirable from my point of view as unexpected. My audience was clearly on my side. Prolonged and hearty applause greeted my confession. My questioner retired shaking his head over my wickedness and the newspapers next day, with obvious approval, came out with headlines 'Scientist Does It Because It's Amusing!' And if that is not the best reason why a scientist should do his work, I want to know what is. Would it be any good to ask a mother what practical use her baby is? That, as I say, was the first evening I ever spent in the United States and from that moment I felt at home. I realised that all talk about science purely for its practical and wealth-producing results is as idle in this country as in England. Practical results will follow right enough. No real knowledge is sterile. The most useless investigation may prove to have the most startling practical importance: Wireless telegraphy might not yet have come if Clerk Maxwell had been drawn away from his obviously 'useless' equations to do something of more practical importance. Large branches of chemistry would have remained obscure had Willard Gibbs not spent his time at mathematical calculations which only about two men of his generation could understand. With this trust in the ultimate usefulness of all real knowledge a man may proceed to devote himself to a study of first causes without apology, and without hope of immediate return.

His son wanted to be a firefighter, but didn't get the job. Mr. Neck is convinced that this is some kind of reverse discrimination. He says we should close our borders so that real Americans can get the jobs they deserve. The job test said that I would be a good fire fighter. I wonder if I could take a job away from Mr. Neck's son. Mr. Neck writes on the board again: "DEBATE: America should have closed her borders in 1900." That strikes a nerve. Several nerves. I can see kids counting backward on their fingers, trying to figure out when their grandparents or great-grandparents were born, when they came to America, if they would have made the Neck Cut. When they figure out they would have been stuck in a country that hated them, or a place with no schools, or a place with no future, their hands shoot up. They beg to differ with Mr. Neck's learned opinion. ... The arguments jump back and forth across the room. A few suck-ups quickly figure out which side Mr. Neck is squatting on, so they fight to throw out the 'foreigners.' Anyone whose family immigrated in the last century has a story to tell about how hard their relatives have worked, the contributions they make to the country, the taxes they pay. A member of the Archery Club tries to say that we are all foreigners and we should give the country back to the Native Americans, but she's buried under disagreement. Mr. Neck enjoys the noise, until one kid challenges him directly. Brave Kid: "Maybe your son didn't get that job because he's not good enough. Or he's lazy. Or the other guy was better than him, no matter what his skin color. I think the white people who have been here for two hundred years are the ones pulling down the country. They don't know how to work - they've had it too easy." The pro-immigration forces erupt in applause and hooting. Mr. Neck: "You watch your mouth, mister. You are talking about my son. I don't want to hear any more from you. That's enough debate - get your books out.

Inflation is not caused by increasing the fiduciary circulation. It begins on the day when the purchaser is obliged to pay, for the same goods, a higher sum than that asked the day before. At that point, one must intervene. Even to Schacht, I had to begin by explaining this elementary truth: that the essential cause of the stability of our currency was to be sought for in our concentration camps. The currency remains stable when the speculators are put under lock and key. I also had to make Schacht understand that excess profits must be removed from economic circulation. I do not entertain the illusion that I can pay for everything out of my available funds. Simply, I've read a lot, and I've known how to profit by the experience of events in the past. Frederick the Great, already, had gradually withdrawn his devaluated thalers from circulation, and had thus re established the value of his currency. All these things are simple and natural. The only thing is, one mustn't let the Jew stick his nose in. The basis of Jewish commercial policy is to make matters incomprehensible for a normal brain. People go into ecstasies of confidence before the science of the great economists. Anyone who doesn't understand is taxed with ignorance! At bottom, the only object of all these notions is to throw everything into confusion. The very simple ideas that happen to be mine have nowadays penetrated into the flesh and blood of millions. Only the professors don't understand that the value of money depends on the goods behind that money. One day I received some workers in the great hall at Obersalzberg, to give them an informal lecture on money. The good chaps understood me very well, and rewarded me with a storm of applause. To give people money is solely a problem of making paper. The whole question is to know whether the workers are producing goods to match the paper that's made. If work does not increase, so that production remains at the same level, the extra money they get won't enable them to buy more things than they bought before with less money. Obviously, that theory couldn't have provided the material for a learned dissertation. For a distinguished economist, the thing is, no matter what you're talking about, to pour out ideas in complicated meanderings and to use terms of Sibylline incomprehensibility.

It’s not always so easy, it turns out, to identify your core personal projects. And it can be especially tough for introverts, who have spent so much of their lives conforming to extroverted norms that by the time they choose a career, or a calling, it feels perfectly normal to ignore their own preferences. They may be uncomfortable in law school or nursing school or in the marketing department, but no more so than they were back in middle school or summer camp. I, too, was once in this position. I enjoyed practicing corporate law, and for a while I convinced myself that I was an attorney at heart. I badly wanted to believe it, since I had already invested years in law school and on-the-job training, and much about Wall Street law was alluring. My colleagues were intellectual, kind, and considerate (mostly). I made a good living. I had an office on the forty-second floor of a skyscraper with views of the Statue of Liberty. I enjoyed the idea that I could flourish in such a high-powered environment. And I was pretty good at asking the “but” and “what if” questions that are central to the thought processes of most lawyers. It took me almost a decade to understand that the law was never my personal project, not even close. Today I can tell you unhesitatingly what is: my husband and sons; writing; promoting the values of this book. Once I realized this, I had to make a change. I look back on my years as a Wall Street lawyer as time spent in a foreign country. It was absorbing, it was exciting, and I got to meet a lot of interesting people whom I never would have known otherwise. But I was always an expatriate. Having spent so much time navigating my own career transition and counseling others through theirs, I have found that there are three key steps to identifying your own core personal projects. First, think back to what you loved to do when you were a child. How did you answer the question of what you wanted to be when you grew up? The specific answer you gave may have been off the mark, but the underlying impulse was not. If you wanted to be a fireman, what did a fireman mean to you? A good man who rescued people in distress? A daredevil? Or the simple pleasure of operating a truck? If you wanted to be a dancer, was it because you got to wear a costume, or because you craved applause, or was it the pure joy of twirling around at lightning speed? You may have known more about who you were then than you do now. Second, pay attention to the work you gravitate to. At my law firm I never once volunteered to take on an extra corporate legal assignment, but I did spend a lot of time doing pro bono work for a nonprofit women’s leadership organization. I also sat on several law firm committees dedicated to mentoring, training, and personal development for young lawyers in the firm. Now, as you can probably tell from this book, I am not the committee type. But the goals of those committees lit me up, so that’s what I did. Finally, pay attention to what you envy. Jealousy is an ugly emotion, but it tells the truth. You mostly envy those who have what you desire. I met my own envy after some of my former law school classmates got together and compared notes on alumni career tracks. They spoke with admiration and, yes, jealousy, of a classmate who argued regularly before the Supreme Court. At first I felt critical. More power to that classmate! I thought, congratulating myself on my magnanimity. Then I realized that my largesse came cheap, because I didn’t aspire to argue a case before the Supreme Court, or to any of the other accolades of lawyering. When I asked myself whom I did envy, the answer came back instantly. My college classmates who’d grown up to be writers or psychologists. Today I’m pursuing my own version of both those roles.

a. From one of the other parents: “Don’t try to manipulate us with those phony crocodile tears!” My response (hopefully): “So you don’t trust my sincerity?” b. From a big burly man: “Oh God, give it up!” My response: “Sounds like you are disgusted with the show of emotion and would prefer we all discuss this practically and logically?” c. From a psychologist in the group: “You are just a little out of control, aren’t you?” My response: “Are you concerned about straying from the agenda for the meeting? The psychologist’s response to the above: “Yes, you are monopolizing the meeting.” My response: “So you would like others to get equal time to speak? Yes, I am willing to give up the floor now.” (Or, “I would like to make two more points if that’s okay with the group.”) Ways to Feed Your Attention Hog Honoring and owning your Attention Hog is a learned habit and skill. It must become a conscious and willful act in order to counter the cultural training we have received to pretend we do not want the attention. You will also be honoring others’ needs to have their attention and appreciation received fully and gracefully. 1. When you are talking with someone and there is a radio or TV playing in the background, ask that it be turned off and not just down. 2. Ask groups to hear you play a new song you have learned. 3. Ask groups to listen to you read or recite poetry or prose. 4. Ask to be on TV or radio. 5. Submit articles for publication in magazines, newspapers or ezines. 6. When speaking to a group, and people are talking in the background, say “My attention hog would like everyone’s attention please.” 7. When you are not getting the eye contact you would like from someone, ask for it. 8. If you want someone to call you more often, tell them specifically how often you would like to be called. 9. If you are not getting the recognition you want at work, ask your boss to write down a number of things that he sees you contributing to the business. 10. When receiving the applause of a group, take it in. Stand there looking at them until the entire wave of appreciation has passed. Chapter FILLING THE HOLE IN THE SOUL I used to think that the need for approval was a misunderstood

Of the tendency, Angus said, of things to get better Dogs and the optimistic are usually convinced; Others, perhaps, are more cautious: When I was your age I remember Thinking that most of life’s problems Would be over by the next day; I still think that, I suppose, And am often pleasantly surprised To discover that it is occasionally true; Thinking something, you see, Can make it happen, or so we believe, Though how that works, I doubt If I shall ever find out. From your perspective, where you are Is probably the only place It is possible to be; some time soon You will discover that we can, if lucky, Decide who we shall become. A word of warning here: Of all the tempting roles You will be offered, being yourself Is unquestionably the safest, Will bring the most applause Will make you feel best; Greasepaint, dear Bertie, is greasy: Leave it to the actors; The most comfortable face to wear, You’ll find, is your own. So what do I wish for you? Freedom? I imagine You know all about that Even if so far you’ve had To contemplate it from a distance. I could think of other things; I might wish, for example, That you should be whatever You fervently want to be: a sailor, A fireman, an explorer? You may live, you know, To seventy-seven and beyond: What, I wonder, will Scotland Be like seven decades from now? I’ll never know, but what I wish Is that some of it will be left for you, Some of the things we’ve loved. Happy birthday, then, Bertie: Be strong, be thoughtful; Don’t be afraid to cry, when necessary: In operas, as in life, it is the strong Who are always the first to weep. Be kind, which you already are, Even to those who deserve it least; Kindness, you see, Bertie, is a sort of love, That is something I have learned, And you’ll learn too if you listen To the teacher we all should trust: The human heart, my dear, the human heart, Where kindness makes its home.

Toto, Toto! Where are you?” I said, pretending to look for my lost dog in the fearsome storm. The dog froze and played it perfectly. I got laughter and some light applause for my efforts. I had improvised and it had worked. One could argue that it worked because of the dog. A good straight dog can really help sell a joke. Whatever. I have been chasing that high ever since.

The very idea that people might work for those wages, and take pride in their work, is incomprehensible to Hillary. The country no longer has slaves to do the dirty work, and so America needs illegal immigrants. The applause attending Hillary’s remarks shows that she was not merely speaking for herself. Other Democratic fine-diners that evening were very much on board with Hillary’s position. Listening to Hillary that evening, I felt I was at a campaign rally for a Democratic presidential candidate in the mid-nineteenth century. The feel was the same, and most important, the argument was the same. A century and a half ago, the issue wasn’t illegal immigration; it was slavery. Democrats then justified slavery on the grounds that there was dirty work to be done and someone had to do it.

I thought of you when I read this quote from "A Farewell to Mars: An Evangelical Pastor's Journey Toward the Biblical Gospel of Peace" by Brian Zahnd - "Jesus is introduced. (Standing ovation.) He stands before Congress and begins to deliver his speech. “Blessed are the poor …the mourners … the meek.” “Love your enemies.” “Turn the other cheek.” After a few perfunctory applauses early on, I’m pretty sure there would be a lot of squirming senators and uncomfortable congressmen. The room would sink into a tense silence. And when Jesus concluded his speech with a prophecy of the inevitable fall of the house that would not act upon his words (Matt. 7:26–27), what would Congress do? Nothing. They would not act. They could not act. To act on Jesus’s words would undo their system. The Sermon on the Mount doesn’t work in Cain’s system—no matter how noble or sophisticated. In the end, the US Congress would no more adopt the policies Jesus set out in the Sermon on the Mount than they were adopted by the Jewish Sanhedrin or the Roman Senate.

You need to be careful to stay out of Charlie’s line of sight,” Steve said to me. “I want Charlie focusing only on me. If he changes focus and starts attacking you, it’s going to be too difficult for me to control the situation.” Right. Steve got no argument from me. Getting anywhere near those bone-crushing jaws was the furthest thing from my mind. I wasn’t keen on being down on the water with a huge saltwater crocodile trying to get me. I would have to totally rely on Steve to keep me safe. We stepped into the dinghy, which was moored in Charlie’s enclosure, secured front and back with ropes. Charlie came over immediately to investigate. It didn’t take much to encourage him to have a go at Steve. Steve grabbed a top-jaw rope. He worked on roping Charlie while the cameras rolled. Time and time again, Charlie hurled himself straight at Steve, a half ton of reptile flesh exploding up out of the water a few feet away from me. I tried to hang on precariously and keep the boat counterbalanced. I didn’t want Steve to lose his footing and topple in. Charlie was one angry crocodile. He would have loved nothing more than to get his teeth into Steve. As Charlie used his powerful tail to propel himself out of the water, he arched his neck and opened his jaws wide, whipping his head back and forth, snapping and gnashing. Steve carefully threw the top-jaw rope, but he didn’t actually want to snag Charlie. Then he would have had to get the rope off without stressing the croc, and that would have been tricky. The cameras rolled. Charlie lunged. I cowered. Steve continued to deftly toss the rope. Then, all of a sudden, Charlie swung at the rope instead of Steve, and the rope went right over Charlie’s top jaw. A perfect toss, provided that had been what Steve was trying to do. But it wasn’t. We had a roped croc on our hands that we really didn’t want. Steve immediately let the rope go slack. Charlie had it snagged in his teeth. Because of Steve’s quick thinking and prompt maneuvering, the rope came clear. We breathed a collective sigh of relief. Steve looked up at the cameras. “I think you’ve got it.” John agreed. “I think we do, mate.” The crew cheered. The shoot lasted several minutes, but in the boat, I wasn’t sure if it had been seconds or hours. Watching Steve work Charlie up close had been amazing--a huge, unpredictable animal with a complicated thought process, able to outwit its prey, an animal that had been on the planet for millions of years, yet Steve knew how to manipulate him and got some fantastic footage. To the applause of the crew, Steve got us both out of the boat. He gave me a big hug. He was happy. This was what he loved best, being able to interact and work with wildlife. Never before had anything like it been filmed in any format, much less on thirty-five-millimeter film for a movie theater. We accomplished the shot with the insurance underwriters none the wiser. Steve wanted to portray crocs as the powerful apex predators that they were, keeping everyone safe while he did it. Never once did he want it to appear as though he were dominating the crocodile, or showing off by being in close proximity to it. He wished for the crocodile to be the star of the show, not himself. I was proud of him that day. The shoot represented Steve Irwin at his best, his true colors, and his desire to make people understand how amazing these animals are, to be witnessed by audiences in movie theaters all over the world. We filmed many more sequences with crocs, and each time Steve performed professionally and perfected the shots. He was definitely in his element. With the live-croc footage behind us, the insurance people came on board, and we were finally able to sign a contract with MGM. We were to start filming in earnest. First stop: the Simpson Desert, with perentie lizards and fierce snakes.

Steve looked up at the cameras. “I think you’ve got it.” John agreed. “I think we do, mate.” The crew cheered. The shoot lasted several minutes, but in the boat, I wasn’t sure if it had been seconds or hours. Watching Steve work Charlie up close had been amazing--a huge, unpredictable animal with a complicated thought process, able to outwit its prey, an animal that had been on the planet for millions of years, yet Steve knew how to manipulate him and got some fantastic footage. To the applause of the crew, Steve got us both out of the boat. He gave me a big hug. He was happy. This was what he loved best, being able to interact and work with wildlife. Never before had anything like it been filmed in any format, much less on thirty-five-millimeter film for a movie theater. We accomplished the shot with the insurance underwriters none the wiser. Steve wanted to portray crocs as the powerful apex predators that they were, keeping everyone safe while he did it. Never once did he want it to appear as though he were dominating the crocodile, or showing off by being in close proximity to it. He wished for the crocodile to be the star of the show, not himself. I was proud of him that day. The shoot represented Steve Irwin at his best, his true colors, and his desire to make people understand how amazing these animals are, to be witnessed by audiences in movie theaters all over the world. We filmed many more sequences with crocs, and each time Steve performed professionally and perfected the shots. He was definitely in his element.

Jonathan presented Larry with a product plan that was a manifestation of the gate-based approach at its finest. There were milestones and approvals, priorities, and a two-year plan of what products Google would release and when. It was a masterpiece of textbook thinking. All that remained was for him to receive a rousing round of applause and a pat on the back. Sadly, this was not to be: Larry hated it. “Have you ever seen a scheduled plan that the team beat?” he asked. Um, no. “Have your teams ever delivered better products than what was in the plan?” No again. “Then what’s the point of the plan? It’s holding us back. There must be a better way. Just go talk to the engineers.

006 [6.1] “Be especially careful when you are trying to be good so that you don’t make a performance out of it. It might be good theater, but the God who made you won’t be applauding. [6.2-4] “When you do something for someone else, don’t call attention to yourself. You’ve seen them in action, I’m sure—‘playactors’ I call them—treating prayer meeting and street corner alike as a stage, acting compassionate as long as someone is watching, playing to the crowds. They get applause, true, but that’s all they get. When you help someone out, don’t think about how it looks. Just do it—quietly and unobtrusively. That is the way your God, who conceived you in love, working behind the scenes, helps you out.

They were divided into four categories that are described below along with examples of the motivational behaviours included within each. 1     Teacher discourse: arousing curiosity or attention, promoting autonomy, stating communicative purpose/utility of activity 2     Participation structure: group work/pair work 3     Activity design: individual competition, team competition, intellectual challenge, tangible task product 4     Encouraging positive retrospective self-evaluation and activity design: effective praise, elicitation of self/peer correction session, class applause. In each lesson, the learners’ motivation was measured in terms of their level of engagement. The proportion of students who paid attention, who actively participated, and who eagerly volunteered during activities was calculated. A three-level scale was used to measure engagement in each observed lesson: very low (a few students), low (one third to two thirds of the students) and high (more than two thirds of the students). Learners also completed a questionnaire about their motivation levels specifically related to their EFL class. The researchers found significant positive correlations between the teachers’ motivational practices, the learners’ engagement behaviours, and the learners’ self-reports on the questionnaire. The researchers acknowledge that correlation results do not indicate cause–effect relationships. Nevertheless, the findings are important because this is the first study to provide ‘any empirical evidence concerning the concrete, classroom-specific impact of language teachers’ motivational strategies’ (Guilloteaux and Dörnyei 2008: 72).

Um, people.” It wasn’t hard to get their attention. They gathered around. Even the littlest ones toned down their giggling, at least a bit. “First of all, thanks to Albert and his helpers for this meal. Let’s give it up for the true Mac Daddy.” A round of hearty applause and some laughter, and Albert waved sheepishly. He frowned a little too, obviously conflicted about the use of the “Mac” prefix in a way that was not approved in the McDonald’s manual. “And we have to mention Lana and Dahra, because without them, there would be a lot fewer of us here.” Now the applause was almost reverential. “Our first Thanksgiving in the FAYZ,” Sam said when the applause died down. “Hope it’s our last,” someone shouted. “Yeah. You got that right,” Sam agreed. “But we’re here. We’re here in this place we never wanted to be. And we’re scared. And I’m not going to lie and tell you that from here on, it will all be easy. It won’t be. It will be hard. And we’ll be scared some more, I guess. And sad. And lonely. Some terrible things have happened. Some terrible things…” For a moment, he lost his way. But then he stood up straighter again. “But, still, we are grateful, and we give thanks to God, if you believe in Him, or to fate, or to just ourselves, all of us here.” “To you, Sam,” someone shouted. “No, no, no.” He waved that off. “No. We give thanks to the nineteen kids who are buried right there.” He pointed at the six rows of three, plus the one who started a seventh row. Neat hand-painted wooden tombstones bore the names of Bette and too many others. “And we give thanks to the heroes who are standing around here right now eating turkey. Too many names to mention, and they’d all just be embarrassed, anyway, but we all know them.” There was a wave of loud, sustained applause, and many faces turned toward Edilio and Dekka, Taylor and Brianna, and some toward Quinn. “We all hope this will end. We all hope we’ll soon be back in the world with people we love. But right now, we’re here. We’re in the FAYZ. And what we’re going to do is work together, and look out for each other, and help each other.” People nodded, some high-fived. “Most of us are from Perdido Beach. Some are from Coates. Some of us are…well, a little strange.” A few titters. “And some of us are not. But we’re all here now, we’re all in it together. We’re going to survive. If this is our world now…I mean, it is our world now. It is our world. So, let’s make it a good one.” He stepped down in silence. Then someone started clapping rhythmically and saying, “Sam, Sam, Sam.” Others joined in, and soon every person in the plaza, even some of the prees, was chanting his name.

Society invented terms like success and failure to judge whether a person is worthy enough to be a part of society. It's a gateway pass to an elite club filled with snobs and hypocrites, who have no idea of life, reason and progress. They are but a bunch of leeches who feed on other people's achievements while mocking the achievements that are in the making. These leeches applaud achievements and scoff at the endeavors that make those achievements possible. Pay no heed to the sneering of these leeches, just continue with your work. It's your work that makes you who you are, not the mockery or the applause.

TOPOPHOBIA The Fear of Situations – Stagefright The average man has a pretty good opinion of himself. Lost in the anonymity of the crowd, protected by the mask he habitually wears against the scrutiny of the outside world, he performs his duties, does his work, fulfills his social obligations, and rests secure in his belief that he is equal to the ordinary emergencies of ordinary life. But take him away from this familiar environment, cut him off from the protective influence of his fellows, set him apart from the crowd, and however agreeable and flattering he may find his momentary distinction, he will miss the familiar devices that adorned his everyday life, the little tricks by which he “got by.” Set on a stage, he is viewed, as it were, naked, and in every gesture he reveals his incompetence. His erstwhile friends gaze at him across an empty space; their expectant air strips him of every studied platitude and leaves him stammering like an idiot. These people, whom he knows so well, are transformed into master-intellects, superior beings to whom he is as the anthropoid ape. Their merciless eyes penetrate to his soul, he feels their scorn as a whip on his back. His naked limbs knock together in terror, his teeth chatter, he feels icy hands clutching at his throat. The fond hopes that lured him to this traitorous pre-eminence desert him, and he babbles incoherencies in place of the golden words that were to win him applause. Back in the days when he was a child and the world was compassed by the walls of his house, he strutted before proud parents, gratifying his need for a stage on which to exhibit himself. Now his old love for personal display brings with it a concentrated fear that is the social punishment for his vanity.

You are my order of new humans - humans beyond borders, humans beyond scriptures, humans beyond applause and mockery, beyond wealth and status, beyond anonymity and popularity.

Even of we were to agree that these great man of beauty are not actually whores grubbing for money, for acclaim, for the pitter-patter of fools' applause, then consider this. Have you seen the prints of Caravaggio? Or Ribera? Or Rembrandt?'[...] 'Do you think those look like the works of happy people? he asked. I knew that they did not. 'You see, Benjamin? Culture is unhappiness end to end.

In the open-plan offices where everyone scrutinized everyone else, anyone who got up to leave earlier than usual to go home was usually greeted with a round of applause. This was done in a sarcastic way and usually accompanied by an awkward question: “Are you working part-time?

Next up is Chef Ashna Raje and her partner, the greatest striker in the history of football, Frederico Silva." The audience went wild, their share of applause noticeably louder than everyone else's. DJ made a production out of waiting for the applause to die down without seeming like a hack. The network had done well with their choice of host. The man had a deep, sophisticated voice and a London accent that moved comfortably between posh and working class. He grinned at Rico with the friendliness of someone Rico had not been an arse to just recently. The person who had provoked him enough to make an arse out of himself turned to him and seemed to read exactly how guilty he was feeling. That of all things seemed to loosen out the knots she'd been tied up in since they had arrived at the studio today. "Bonus points for calling it football, mate," Rico said, and the crowd booed playfully. "And by football they both mean soccer," Ashna added. "This is America, guys!" The crowd went nuts.

These bachelor dinners get kind of wild sometimes. Everybody gets loaded. The whole philosophy is that it's the poor groom's last night before he goes into the electric chair. So it gets kind of wild.

Maybe you ought to go, Charlie. CHARLIE No, they asked me. I told them I didn't want to go. HELEN It might do you good to have a night out. I know you're upset about the baby... CHARLIE I'm not upset... HELEN Come on, Charlie, I know how you feel. Listen, you don't have to pretend you're excited about having a baby. We weren't figuring on a kid right now, and it's a shock. Listen, I wasn't exactly overjoyed when I began to suspect I was pregnant.

These bachelor parties get a little out of hand sometimes. Eddie Watkins is making all the arrangements. If I know Eddie, he's probably lined up a whole bunch of chorus girls.

I don't know. Sometimes, I look at Helen. And she's a nice girl and all that. She's pretty. But I feel I'm missing something. I look at Helen, I say: "I must have felt something special to marry this girl.

I get real jealous of Eddie sometimes. He's as free as a bird. Did you ever see that convertible he's got? You ought to see the old heap I got. He walks out of here on payday, he can spend the whole works on having himself a good time. I walk out of here, and I got three kids and a wife, all with their palms out. I lost two bucks playing poker at my house last week. It was an economic catastrophe. My wife didn't sleep all night. (Frowning, he looks back to his work, then he looks up again) Look, the jerk is twenty minutes late. If the boss walked in now, he'd fire him. What does Eddie care? So he scrambles around for another job. If that ever happened to me, I'd be afraid to go home.

So I said to Arnold: "I'm cutting out of this madhouse." So they said: "Wait just a couple of minutes, because we're going to have a rehearsal." You'd think they were being married on television...

Yeah. That's what happened. We sat around, nobody talked. I don't understand marriage, Charlie. What are you supposed to do with your wife? I mean, most of the time. CHARLIE (Thinking) Most of the time, Arnold, you don't even see each other. You're away working. You come home, and you eat. Then one of you washes the dishes. Then, if you're not tired, you can go to the movies or visit somebody. Or you watch Tee Vee.

We were looking, looking, always looking for something. That's what we've been doing all night tonight. Going from one place to another, looking. What are we looking for? Go home, Eddie, go to bed. I'll take Arnold home, explain to everybody he was drunk, he didn't mean anything.

Tell her everything you're scared about. Everybody's scared, Arnold. Everybody's got things in them they're ashamed of. That's what a wife's for. To make you feel you don't have to be ashamed of yourself. Then she tells you what makes her feel miserable.... Then, that's your job. It's your job to make her feel she's not as bad as everybody makes her think she is.

I'm a little, short, fat fellow, and girls don't go for me, that's all. I'm not like you. I mean, you joke around, and they laugh at you, and you get along fine. I just stand around like a bug. What's the sense of kidding myself? Everybody's always telling me to get married. Get married. Get married. Don't you think I wanna get married? I wanna get married. They drive me crazy. Now, I don't wanna wreck your Saturday night for you, Angie. You wanna go somewhere, you go ahead. I don't wanna go.

VIRGINIA And she begins complaining about this, and she begins complaining about that. And she got me so nervous, I spilled some milk I was making for the baby. You see, I was making some food for the baby, and... THE MOTHER So I said to her, "Catherine..." VIRGINIA So, she got me so nervous I spilled some milk. So she said: "You're spilling the milk." She says: "Milk costs twenny-four cents a bottle. Wadda you, a banker?" So I said: "Mama, leave me alone, please.