Experience Quotes (displaying: 121 - 150 of 4787 quotes )
These are the few ways we can practice humility:To speak as little as possible of one's self.To mind one's own business.Not to want to manage other people's affairs.To avoid curiosity.To accept contradictions and correction cheerfully.To pass over the mistakes of others.To accept insults and injuries.To accept being slighted, forgotten and disliked.To be kind and gentle even under provocation.Never to stand on one's dignity.To choose always the hardest.
The first fact of the world is that it repeats itself. I had been taught to believe that the freshness of children lay in their capacity for wonder at the vividness and strangeness of the particular, but what is fresh in them is that they still experience the power of repetition, from which our first sense of the power of mastery comes. Though predictable is an ugly little world in daily life, in our first experience of it we are clued to the hope of a shapeliness in things. To see that power working on adults, you have to catch them out: the look of foolish happiness on the faces of people who have just sat down to dinner is their knowledge that dinner will be served. Probably, that is the psychological basis for the power and the necessity of artistic form...Maybe our first experience of form is the experience of our own formation...And I am not thinking mainly of poems about form; ?m thinking of the form of a poem, the shape of its understanding. The presence of that shaping constitutes the presence of poetry.
For Mercy has a human heart;Pity, a human face;And Love, the human form divine:And Peace the human dress.Songs of InnocenceCruelty has a human heartAnd jealousy a human face,Terror the human form divine,And secrecy the human dress.The human dress is forged iron,The human form a fiery forge,The human face a furnace seal'd,The human heart its hungry gorge.Songs of Experience - This poem was discovered posthumously.
Alice laughed. 'There's no use trying,' she said. 'One can't believe impossible things.'I daresay you haven't had much practice,' said the Queen. 'When I was your age, I always did it for half-an-hour a day. Why, sometimes I've believed as many as six impossible things before breakfast. There goes the shawl again!
Experience teaches that for most people there is a limit beyond which their constitution cannot comply with the demands of civilization. All who wish to reach a higher standard than their constitution will allow, fall victims to neurosis. It would have been better for them if they could have remained less "perfect".
Why then did she do it? She looked at the canvas, lightly scored with running lines. It would be hung in the servants' bedrooms. It would be rolled up and stuffed under a sofa. What was the good of doing it then, and she heard some voice saying she couldn't paint, saying she couldn't create, as if she were caught up in one of those habitual currents in which after a certain time experience forms in the mind, so that one repeats words without being aware any longer who originally spoke them.
You see, it's really quite simple. A simile is just a mode of comparison employing 'as' and 'like' to reveal the hidden character or essence of whatever we want to describe, and through the use of fancy, association, contrast, extension, or imagination, to enlarge our understanding or perception of human experience and observation.
Unlike any other creature on this planet, human beings can learn and understand without having experienced. They can think themselves into other people? places. Of course, this is a power like my brand of fictional magic that is morally neutral. One might use such a power to manipulate or control, just as much as to understand or sympathize. And many prefer not to exercise their imaginations at all. They choose to remain comfortably within the bounds of their own experience, never troubling to wonder how it would feel to have been born other than they are. They can refuse to hear screams or peer inside cages. They can close their hearts and minds to any suffering that does not touch them personally. They can refuse to know. I might be tempted to envy people who can live that way, except that I do not think that they have any fewer nightmares than I do.
But he had never seen Myrna in practice...never that close up. He had been impressed and a little frightened by the contrast between seeing ballet on stange, where everyone seemed to either glide or mince effortlessly on the tips of their pointes. and seeing it from less than five feet away, with harsh daylight pouring in the floor-to-ceiling windows and no music- only the choreographer rythmically clapping his hands and yelling harsh criticisms. No praise, only criticisms. Their faces ran with sweat. Their leotards were wet with sweat. The room, as large and airy as it way, stank of sweat. Sleek muscles trembled and fluttered on the nervous edge of exhaustion. Corded tendons stood out like insulated cables. Throbbing veins popped out on foreheads and necks. Except for the choreographer's clapping and angry, hectoring shouts, the only sounds were the thrup-thud of ballet dancers on pointe moving across the floor and harsh, agonized panting for breath. Jack had suddenly realized that these dancers were not just earning a living, they were killing themselves. Most of all he remembered their expressions- all that exhausted concentration, all that pain... but transcending the pain, or at least creeping around its edges, he had seen joy. Joy was unmistakably what that look was, and it scared Jack because it had seemed inexplicable.
We tell ourselves stories in order to live...We look for the sermon in the suicide, for the social or moral lesson in the murder of five. We interpret what we see, select the most workable of the multiple choices. We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images, by the "ideas" with which we have learned to freeze the shifting phantasmagoria which is our actual experience.
The nocturnal glory of being great without beinganything! The sombre majesty of splendours no oneknow? And I suddenly experience the sublime feelingof a monk in the wilderness or of a hermit in his retreat,acquainted with the substance of Christ in the sands andin the caves of withdrawal from the world.
I too took the plunge - the vow to observe brahmacharya for life. I must confess that I had not then fully realized the magnitude and immensity of the task I undertook. The difficulties are even today staring me in the face. The importance of the vow is being more and more borne in upon me. Life without brahmacharya appears to me to be insipid and animal-like. The brute by nature knows no self-restraint. Man is man because he is capable of, and only in so far as he exercises, self-restraint. What formerly appeared to me to be extravagant praise of brahmacharya in our religious books seems now, with increasing clearness every day, to be absolutely proper and founded on experience.
I don't think any actor has the luxury of knowing exactly what scripts are going to turn out well and what ones aren't. It would be wonderful to have that particular skill, and maybe people like Tom Cruise have it more than most, but you go into each project hoping that a good, if not great, film will come out the other end.