A Quote by Denise Levertov

Prophetic utterance, like poetic utterance, transforms experience and moves the receiver to new attitudes. The kinds of experience--the recognitions or revelations--out of which both prophecy and poetry emerge, are such as to stir the prophet or poet to speech that may exceed their own known capacities; they are "inspired," they breathe in revelation and breathe out new words; and by so doing they transfer over to the listener or reader a parallel experience, a parallel intensity, which impels that person into new attitudes and new actions.
I always encourage people to get out there, travel the world, see new things, experience new people, experience new food, experience new culture. What happens is that helps you to grow and be your best self.
How do you change what you believe when your experience has convinced you otherwise? By creating a new experience. The best way for you to get that new experience is to change your response to what happens. By the natural law of cause and effect, that new response will create new results, which you will then experience as a new reality. To reach the goal of happiness, act as though the following statement is already true: Everything that happens to me is the best thing that can happen to me.
Time is a topological manifold. It is a surface. Events flow across it like water over land and like water flowing over land, when the land is flat, the water becomes reflective and moves slowly. When the landscape becomes disrupted, the water moves faster and chaotic attractors appear and new kinds of activity emerge and out of that new activity, there comes the new states that define the future.
If you want God to do something new in you, you cannot keep doing the same old thing. You have to do something different. And if you do, God will create new capacities within you. There will be new gifts and new revelations. But you've got to pray the price. You'll get out of this what you put into it.
The moral government of God is a movement in a line onwards towards some grand consummation, in which the principles, indeed, are ever the same, but the developments are always new - in which, therefore, no experience of the past can indicate with certainty what new openings of truth, what hew manifestations of goodness, what new phases of the moral heaven may appear.
It is part of the educator's responsibility to see equally to two things: First, that the problem grows out of the conditions of the experience being had in the present, and that it is within the range of the capacity of students; and, secondly, that it is such that it arouses in the learner an active quest for information and for production of new ideas. The new facts and new ideas thus obtained become the ground for further experiences in which new problems are presented.
The world fears a new experience more than it fears anything. Because a new experience displaces so many old experiences. . . . The world doesn't fear a new idea. It can pigeon-hole any idea. But it can't pigeon-hole a real new experience.
Breathe-in experience, breathe-out poetry.
There are no new facts about the Kennedys, only new attitudes, a literature that, like the automobile industry, puts new bodies on old chassis.
Much of a poet's experience takes place in imagination only; the life he tells is oftenest the life that he strongly desires to live, and the power, the purity and height of his utterance may not seldom be the greater because experience here uses the voices of desire.
The mind never need stop growing. Indeed, one of the few experiences which never pall is the experience of watching one's own mind and how it produces new interests, responds to new stimuli, and develops new thoughts, apparently without effort and almost independently of one's own conscious control.
I like new ballets because they're totally new. As you get older, new experiences are harder and harder to come by, so it's pretty great to have a new experience.
The artist must ever play and experiment with new means of arranging experience, even though the majority of his audience may prefer to remain fixed in their old perceptual attitudes.
A moment comes, which comes but rarely in history, when we step out from the old to the new; when an age ends; and when the soul of a nation long suppressed finds utterance.
Mental pictures offer us an opportunity to practice new traits and attitudes, which otherwise we could not do. This is possible because again - your nervous system cannot tell the difference between an actual experience and one that is vividly imagined.
I guess it's a pretty common experience while making a movie. You have to let go of the result and just hang on to the experience and the process, where each role takes you to a different country, as it were: You're shipwrecked on this new island, you have no clothes, you have to figure out how you're going to live in this new character. All of that turns me on.
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