A Quote by Albert Ellis
If people stopped looking on their emotions as ethereal, almost inhuman processes, and realistically viewed them as being largely composed of perceptions, thoughts, evaluations, and internalized sentences, they would find it quite possible to work calmly and concertedly at changing them.
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If human emotions largely result from thinking, then one may appreciably control one's feelings by controlling one's thoughts - or by changing the internalized sentences, or self-talk, with which one largely created the feeling in the first place.
When we were children, letters were like fun toys. We played with them through our building blocks. We colored them in books. We danced and sang along with TV puppets while learning C was for “cookie.” Soon, letters turned into words. Words turned into sentences. Sentences turned into thoughts. And along the way, we stopped playing with them and stopped marveling at A through Z.
I finally stopped worrying what people would think. I found out that almost everybody has some secret, some dark fear that if people knew this about them they wouldn't like them anymore, or would look down on them.
More and more, I have come to realize how thoughts and concepts are all that block us from always being . . . in the absolute. . . . When the view is there, thoughts are seen for what they truly are: fleeting and transparent, and only relative. . . . You do not cling to thoughts and emotions or reject them, but welcome them all within the vast embrace of Rigpa.
Syntax is the study of the principles and processes by which sentences are constructed in particular languages. Syntactic investigation of a given language has as its goal the construction of a grammar that can be viewed as a device of some sort for producing the sentences of the language under analysis.
Where I would like to discover facts, I find fancy. Where I would like to learn what I did, I learn only what I was thinking. Theyare loaded with opinion, moral thoughts, quick evaluations, youthful hopes and cares and sorrows. Occasionally, they manage to report something in exquisite honesty and accuracy. That is why I have refrained from burning them.
If you facilitate your subordinates' steady progress in meaningful work, make that progress salient to them, and treat them well, they will experience the emotions, motivations, and perceptions necessary for great performance.
If, for example, I saw my grandparents or my daughter for an instant, would I recognize them? Probably not, because in looking so hard for a way to keep them alive, remembering them in the most minimal details, I have been changing them, adorning them with qualities they may not have had. I have given them a destiny much more complex than the ones they lived.
You don't want to block your thoughts, emotions, and so on; nor do you want to chase after them. If you chase after them, if you let them lead you, they begin to define you, and you lose your ability to respond openly and spontaneously in the present moment. On the other hand, if you attempt to block your thoughts, your mind can become quite tight and small.
Problems arise when you identify with your thoughts and emotions. Try to be a witness to the thoughts instead of being totally identified with them.
We find what we are looking for. If we are looking for life and love and openness and growth, we are likely to find them. If we are looking for witchcraft and evil, we'll likely find them, and we may get taken over by them.
Be aware that what you think, to a large extent, creates the emotions that you feel. See the link between your thinking and your emotions. Rather than being your thoughts and emotions, be the awareness behind them.
Actors are professionals who deal with people's emotions and their thoughts. So, working with this very intelligent, smart cast meant that sometimes I would only have to start speaking a word and these wonderful actors would immediately catch onto what I wanted them to portray, and how I wanted them to act.
I cannot tell you how many times guides have said to me, "Please tell them to stop praying to me. I can't make things happen. I can't protect them from going through challenging experiences. These are experiences their soul has chosen to go through. I'm here to keep them on their path, but I don't want them to give me all this attention or power or focus." Realistically, the guides I work with are really encouraging people to find their inner voice.
I can't write from the subconscious actually, because a lot of the time when I co-write with other people, I'm writing for them as opposed to for myself. When it comes to lyrics, I tend to want to give them their voice, since it's most likely going to be on their record, or somebody else's record. And I find for more commerial-style music, people want simplicity, less vagueness, and less space to fill between the lines, so to speak. So I can't be quite as ethereal and mystical.
My own position is, that it is largely up to the work itself to suggest the nature of these referential points without dimensions in and through the processes by which the distance between them is maintained.
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