To enjoy anything, we cannot be attached to it. William Blake understood this beautifully: He who binds to himself a Joy, Doth the winged life destroy; But he who kisses the Joy as it flies / Lives in Eternity's sunrise. What we usually try to do is capture any joy that comes our way before it can escape. We have our butterfly net and go after the joy like a hunter stalking his prey. We hide and wait, pounce on it, catch it, and take it home to put on our wall. When our friends come to visit, we say, "Hey, Stu, would you like to see my joy?" There it is on the wall - dead. We try to cling to pleasure, but all we succeed in doing is making ourselves frustrated because, whatever it promises, pleasure simply cannot last. But if I am willing to kiss the joy as it flies, I say, 'Yes, this moment is beautiful. I won't grab it. I'll let it go.'
Eknath EaswaranRelated topics
anything beautiful catch comes dead escape flies hide home hunter joy kiss last lives making moment net pleasure pounce prey see stalking take try visit wait wall way whatever willing yes Friends WilliamRelated quotes
If a human being is isolated from other humans for a month or more, and is confined to a small area geographically and a small range of activities, his interest in his surroundings and its minutiae increase radically.... Further, if a confined, isolated human is allowed brief contacts with other humans even without a shared language, he begins to find their presence comforting, and a pleasant relief from the "evenness" of his surroundings. If these humans controls his only sources of food as well as his sources of intraspecies stimulation, he mat adapt to their demands in subtle and not so subtle ways. He may, given time, learn their language, take on their beliefs, etc. When we catch a dolphin and put him alone in a small tank, we are imposing similar "solitary confinement" structures on him. Maybe we can thus capture his loyalty and his initiative.
John C. Lilly
And then I awoke and yet continued to dream... painting constantly appeared to me as the one and only possible achievement. I thought of my grand old friend Henri Rousseau [French Primitive painter, died in 1910] that Homer in the porter's lodge whose prehistoric dreams have sometimes brought me near the gods. I saluted him in my dream. Near him I saw William Blake, noble emanation of English genius...'Have confidence in your objects,' he said, 'do not let yourself be intimidated by the horror of the world. Everything is ordered and correct and must fulfill its destiny in order to attain perfection. Seek this path'... I awoke and found myself in Holland in the midst of boundless world turmoil. But my belief in the final release and absolution of all things, whether they please or torment, was newly strengthened. Peacefully I laid my head among the pillows... to sleep, and dream, again.
Max Beckmann
I find that I have great faith in human nature. I believe that people are good. I believe they are to be trusted. So far as I know, no one has ever betrayed my faith, in any way. If they ever have, I've been spared the knowledge of it.
If I couldn't have faith in human nature, I wouldn't want to live. It is the one thing that could destroy for me the joy of living.
I've come to believe that life, under almost any conditions, is worth while.
I found that out when I had my accident some years ago, and was in the hospital.
I thought, for a couple of weeks, that I would be blind for life. I thought I would surely be so disabled that I would never be able to work again. I didn't suppose that I would have one five-hundredth of what I have now. Still I thought, 'Life is worth while. Just to be alive.' I still think so.
Harold Lloyd
Then we went down to his work room, in the horrible beautiful Merz grotto [the 'Merz-Haus', built by Kurt Schwitters, where broken wheels paired with matchboxes, wire lattices with brushes without bristles, rusted wheels with curious Merz cucumbers... How often did we 'p-lay' in this room! Schwitters called playing, considering the sweat, working. There we glued together our paper pictures, and as I tossed away one of my glued-together works one morning, Schwitters asked, 'You don't like it? Can I have it?' – 'What do you want with this failed piece of toast?' Schwitters took a good look at it and said, 'I'll put what's on top on the bottom, I'll stick a little Merz nose in this corner and I'll sign the bottom Kurt Schwitters.' And, yes indeed, this collage became a wonderful picture by Kurt Schwitters. Schwitters was a wizard, just as Hokusai was a wizard.
Jean Arp
It seems to me that this last piece, The Poet Speaks, which is the title Schumann gave to this immortal work, should be a transition into a kind of intimate reverie. It is not just about making a beautiful sound and expressive phrasing. You also need to create a sense of dreaming. The truth is, you need to dream this piece, rather than play it.
Will you allow me to take your place? These two phrases are not connected. They are two different elements... of the same musical state. Here, like a question... And here again, another, tenderly asking the way. And from this moment, you should convey the music not just through the notes but through some kind of inspiration drawn from its immortal spirit. Now the sonorities should fade away...grow fainter and dimmer...and you are left simply in the presence of a reminiscent dream.
Alfred Cortot