A Quote by Anais Nin
Many couples, many people, are not living with real human beings, but with their ghosts. Who has not followed for years the spell of a particular tone of voice, from voice to voice, as the fetishist follows a beautiful foot, scarcely seeing the woman herself? A voice, a mouth, an eye, all stemming from the original fountain of our first desire, directing it, enslaving us, until we choose to unravel the fatal web and free ourselves.
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We cannot have peace on Earth until we learn to speak with one voice. That voice must be the voice of reason, the voice of compassion, the voice of love. It is the voice of divinity within us.
There are times when the voice of repining is completely drowned out by various louder voices: the voice of government, the voice of taste, the voice of celebrity, the voice of the real world, the voice of fear and force, the voice of gossip.
When the kirtan is harmonious with so many people, it’s a tumultuous beautiful sound. We can’t hear just one voice during the chorus; or rather we do hear one voice. But that one voice is actually the sound of everyone’s voice in harmony. That’s our offering to God. And why is it so pleasing to the Lord? Because we are all cooperating for a higher purpose. We are all united for the pleasure of the center, for the pleasure of Krishna, in spite of all our differences.
In some traditional African dances, people wear masks in order to become the embodiments of particular spirits. I have heard that they often cover the mouth-piece with spider webs or something that resonates, so that their voice gets distorted, ceasing to be the voice of a human and becoming representative of a voice that comes from another world.
So much of what I love about poetry lies in the vast possibilities of voice, the spectacular range of idiosyncratic flavors that can be embedded in a particular human voice reporting from the field. One beautiful axis of voice is the one that runs between vulnerability and detachment, between 'It hurts to be alive' and 'I can see a million miles from here.' A good poetic voice can do both at once.
Ever since I was first read to, then started reading to myself, there has never been a line read that I didn't hear. As my eyes followed the sentence, a voice was saying it silently to me. It isn't my mother's voice, or the voice of any person I can identify, certainly not my own. It is human, but inward, and it is inwardly that I listen to it. It is to me the voice of the story or the poem itself.
But what I would like to say is that the spiritual life is a life in which you gradually learn to listen to a voice that says something else, that says, "You are the beloved and on you my favour rests."... I want you to hear that voice. It is not a very loud voice because it is an intimate voice. It comes from a very deep place. It is soft and gentle. I want you to gradually hear that voice. We both have to hear that voice and to claim for ourselves that that voice speaks the truth, our truth. It tells us who we are.
I hope that 'Gambit' doesn't take ten years, but it takes a little honing to get that tone and that voice exactly right. The character has such a specific voice in the comic, in the same way that Deadpool has a specific voice in the comic, that we want to make sure that we capture that voice on the page.
The voice is certainly important and you can hear if it's beautiful or not, it's the gods who decide; it's more a question of what you do with the voice, which is the mysterious element. It's the personality behind the voice which makes the artist. The voice is a gift of God, but if you're not able to use this gift, what's left? Nothing but a beautiful voice, without nuance or color.
The Voice of Heaven is a still small voice. The voice of peace in the home is a quiet voice. There is need for much discipline in marriage, not of one's companion, but of oneself... When couples cultivate the art of the soft answer, it blesses their home, their life together, and their companionship.
I really knew how to speak - from my female voice, that "different voice" that Carol Gilligan so presciently described many years ago in her groundbreaking book. Because if we try to speak in a voice that isn't ours, we lose our power.
The very first time I had Whitney Houston on my show, however many years ago, I thought, "You are 'the voice.'" You are the voice, that was my name for you.
For one thing, I teach my students what my teacher for twenty years, Paul Gavert, told me, 'The voice follows... the voice follows everything about you... who you are.
For one thing, I teach my students what my teacher for twenty years, Paul Gavert, told me, 'The voice follows... the voice follows everything about you... who you are.'
I definitely see the voice as an instrument: It makes great drums, great synth pads, great everything. Vocals can be so many things, like, "Hey, I'm Michael Jackson, and this is my iconic voice," or a choir of people sounding like Mozart's Requiem. Mariah Carey is my favorite singer because her voice sounds utterly groundless. It's not even a human voice; it almost sounds mechanical.
It may be that 'the voice of the people is the voice of God' in fifty one cases out of a hundred, but in the remaining forty nine it is quite as likely to be the voice of the devil, of, what is still worse, the voice of a fool.
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