Revealing Quotes (displaying: 1 - 30 of 832 quotes )
God is going to reveal to us things He never revealed before if we put our hands in His. No books ever go into my laboratory. The thing I am to do and the way of doing it are revealed to me. I never have to grope for methods. The method is revealed to me the moment I am inspired to create something new. Without God to draw aside the curtain I would be helpless.
when someone speaks he looks at a mouth, not eyes and their colors, which, it seems to him, will always alter depending on the light of a room, the minute of the day. Mouths reveal insecurity or smugness or any other point on the spectrum of character. For him they are the most intricate aspect of faces. He's never sure what an eye reveals. but he can read how mouths darken into callousness, suggest tenderness. One can often misjudge an eye from its reaction to a simple beam of sunlight.
The Friendship is not a reward for our discrimination and good taste in finding one another out. IT is the instrument by which God reveals to each the beauties of all the others. They are no greater than the beauties of a thousand other men; by Friendship God opens our eyes to them. They are, like all beauties, derived from Him, and then, in a good Friendship, increased by Him through the Friendship itself, so that it is His instrument for creating as well as for revealing. At this feast it is he who has spread the board and it is He who has chosen the guests. It is He, we may dare to hope, who sometimes does, and always should, preside. Let us not reckon without our Host.
The theology of littleness is a basic category of Christianity. After all, the tenor of our faith is that God's distinctive greatness is revealed precisely in powerlessness. That in the long run, the strength of history is precisely in those who love, which is to say, in a strength that, properly speaking, cannot be measured according to categories of power. So in order to show who he is, God consciously revealed himself in the powerlessness of Nazareth and Golgotha. Thus, it is not the one who can destroy the most who is the most powerful...but, on the contrary, the least power of love is already greater than the greatest power of destruction.
The genius of a composer is found in the notes of his music; but analyzing the notes will not reveal his genius. The poet's greatness is contained in his words; yet the study of his words will not disclose his inspiration. God reveals himself in creation; but scrutinize creation as minutely as you wish, you will not find God, any more than you will find the soul through careful examination of your body.
A great deal has been said about love at first sight; I am perfectly aware of love's retrospective tendency to make a legend of itself, turn its beginnings into myth; so I don't want to assert that it was love; but I have no doubt there was a kind of clairvoyance at work: I immediately felt, sensed, grasped the essence of Lucie's being or, to be more precise, the essence of what she was later to become for me; Lucie had revealed herself to me the way religious truth reveals itself.
In their choice of lovers both the male and the female reveal their essential nature. The type of human being we prefer reveals the contours of our heart. Love is an impulse which springs from the most profound depths of our beings, and upon reaching the visible surface of life carries with it an alluvium of shells and seaweed from the inner abyss. A skilled naturalist, by filing these materials, can reconstruct the oceanic depths from which they have been uprooted.
I am approached with the most opposite opinions and advice, and that by religious men, who are equally certain that they represent the Divine will. I am sure that either the one or the other is mistaken in that belief, and perhaps in some respects both. I hope it will not be irreverent for me to say that if it is probable that God would reveal his will to others, on a point so connected with my duty, it might be supposed he would reveal it directly to me; for, unless I am more deceived in myself than I often am, it is my earnest desire to know the will of Providence in this matter. And if I can learn what it is, I will do it! These are not, however, the days of miracles, and I suppose it will be granted that I am not to expect a direct revelation. I must study the plain, physical facts of the case, ascertain what is possible and learn what appears to be wise and right.
We feel that to reveal embarrassing or private things, we have given someone something, that, like a primitive person fearing that a photographer will steal his soul, we identify our secrets, our past and their blotches, with our identity, that revealing our habits or losses or deeds somehow makes one less of oneself.
That I discovered the deed that intends me, that, this movement of my freedom, reveals the mystery to me. But this, too, that I cannot accomplish it the way I intended it, this resistance also reveals the mystery to me. He that forgets all being caused as he decides from the depths, he that puts aside possessions and cloak and steps bare before the countenance--this free human being encounters fate as the counter-image of his freedom. It is not his limit but his completion; freedom and fate embrace each other to form meaning; and given meaning, fate--with its eyes, hitherto severe, suddenly full of light--looks like grace itself.
By revealing to Tomas her dream about jabbing needles under her fingernails, Tereza unwittingly revealed that she had gone through his desk. If Tereza had been any other woman, Tomas would never have spoken to her again. Aware of that, Tereza said to him, Throw me out! But instead of throwing her out, he seized her hand and kissed the tips of her fingers, because at that moment he himself felt the pain under her fingernails as surely as if the nerves of her fingers led straight to his own brain. Anyone who has failed to benefit from the Devil’s gift of compassion (co-feeling) will condemn Tereza coldly for her deed, because privacy is sacred and drawers containing intimate correspondence are not to be opened. But because compassion was Tomas’s fate (or curse), he felt that he himself had knelt before the open desk drawer, unable to tear his eyes from Sabina’s letter. He understood Tereza, and not only was he incapable of being angry with her, he loved her all the more.
It is this admirable, this immortal, instinctive sense of beauty that leads us to look upon the spectacle of this world as a glimpse, a correspondence with heaven. Our unquenchable thirst for all that lies beyond, and that life reveals, is the liveliest proof of our immortality. It is both by poetry and through poetry, by music and through music, that the soul dimly descries the splendours beyond the tomb; and when an exquisite poem brings tears to our eyes, those tears are not a proof of overabundant joy: they bear witness rather to an impatient melancholy, a clamant demand by our nerves, our nature, exiled in imperfection, which would fain enter into immediate possession, while still on this earth, of a revealed paradise.
What genuine painters do is to reveal the underlying psychological and spiritual conditions of their relationship to their world; thus in the works of a great painter we have a reflection of the emotional and spiritual condition of human beings in that period of history. If you wish to understand the psychological and spiritual temper of any historical period, you can do no better than to look long and searchingly at its art. For in the art the underlying spiritual meaning of the period is expressed directly in symbols. This is not because artists are didactic or set out to teach or to make propaganda; to the extend that they do, their power of expression is broken; their direct relations to the inarticulate, or, if you will, 'unconscious' levels of the culture is destroyed. They have the power to reveal the underlying meaning of any period precisely because the essence of art is the powerful and alive encounter between the artist and his or her world." (pg 52)