A Quote by Doris Lessing
This is a catastrophic universe, always; and subject to hidden reversals, upheavals, changes, cataclysms, with joy never anything but the song of substance under pressure forced into new forms and shapes.
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What is it that dies? A log of wood dies to become a few planks. The planks die to become a chair. The chair dies to become a piece of firewood, and the firewood dies to become ash. You give different names to the different shapes the wood takes, but the basic substance is there always. If we could always remember this, we would never worry about the loss of anything. We never lose anything; we never gain anything. By such discrimination we put an end to unhappiness. (118-119)
Imagine hidden in a simpler exterior a secret receptacle wherein the most precious treasure is deposited - there is a spring which has to be pressed, but the spring is hidden, and the pressure must have a certain strength, so that an accidental pressure would not be sufficient. So likewise is the hope of eternity hidden in man's inmost parts, and affliction is the pressure. When it presses the hidden spring, and strongly enough, then the contents appear in all their glory.
Anything that we love seems to always come out in some form or another, but once it gets into your brain, these things get processed, and they come out in new shapes and forms.
Thus inevitably does the universe wear our color, and every object fall successively into the subject itself. The subject exists, the subject enlarges; all things sooner or later fall into place. As I am, so I see; use what language we will, we can never say anything but what we are.
If you imagine b, d, p, and q, those are letter forms that all the children always mess up. They are mirror forms of one another. That feature is emphasized in a font like Arial, where the shapes are literally mirror forms.
Life is never static. Despite catastrophic tragedies, life has persisted in evolving new varieties of unimaginable forms. I find comfort in the narrative of evolutionary history.
The soul of one who serves God always swims in joy, always keeps holiday, is always in her palace of jubilation, ever singing with fresh ardor and fresh pleasure a new song of joy and love.
In all great changes of established governments, forms ought to give way to substance
The biggest bursts of speciation that we know about in the history of the earth are soon after great cataclysms, like the extinction of the dinosaurs, which create new opportunities, and all sorts of new forms spring up... So, quite often, the reasons for creativity depend on accidents or disasters that prevent the normal habits being carried out.
Joy is hidden in sorrow and sorrow in joy. If we try to avoid sorrow at all costs, we may never taste joy, and if we are suspicious of ecstasy, agony can never reach us either. Joy and sorrow are the parents of our spiritual growth.
I can see forms and shapes in my mind when I solo, just as a painter can see forms and shapes when he starts painting. And I can see different colors.
There's always pressure on filming. There's the weather, people, various different technical problems. There's always pressure! And there's never really enough time for anything, really!
I never find words right away. Poems for me always begin with images and rhythms, shapes, feelings, forms, dances in the back of my mind.
There is a thing inherent and natural which existed before heaven and earth. Motionless and fathomless, It stands alone and never changes; It pervades everywhere and never becomes exhausted. It may be regarded as the Mother of the Universe. I do not know its name. If I am forced to give It a name, I call it Tao, and I name it as supreme.
I've always had a tendency to keep an emergency exit in a song. I can't remember ever writing a song that is completely and thoroughly depressing; there's always been a way out somehow. A sense of hope in song, regardless of the subject matter.
If tone is granted to be subjected to control, why not line also, which has equal emotional significance? And if line, why not shapes and forms? And if shapes and forms, why not allow elision or emphasis of detail? And if all these things are allowed, what becomes of the record of actuality ?... Sunk without a trace!
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