A Quote by Elisabeth Kubler-Ross
If we could see that everything, even tragedy, is a gift in diguise, we would then find the best way to nourish the soul.
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The first step of gratitude is to see the gift...if you are in the middle of difficulties and problems, how can you feel gratitude? You've got to fight to find the gift even in the difficulty...when you shift your perspective from the perspective of the mind because life will never make sense to your mind...mind is very logical and life is not. In order for life to make sense you've got to be out of your mind and you've got to be into your soul. When you begin to see life from the perspective of your soul then even in the midst of the worst of it you can see the gift.
The gift of creative reading, like all natural gifts, must be nourished or it will atrophy. And you nourish it, in much the same way you nourish the gift of writing - you read, think, talk, look, listen, hate, fear, love, weep - and bring all of your life like a sieve to what you read. That which is not worthy of your gift will quickly pass through, but the gold remains.
Do not go looking for problems to feed your soul. Just let life be your teacher. It will nourish you with its inevitable difficulties. How will you know whether you are letting life teach you and nourish you? If your physical senses become more sensitive to the beauty you see, the words of love you hear, and the life you feel touching your body and soul, then you know you have discovered the great value of misfortune.
Marseilles isn't a city for tourists. There's nothing to see. Its beauty can't be photographed. It can only be shared. It's a place where you have to take sides, be passionately for or against. Only then can you see what there is to see. And you realize, too late, that you're in the middle of a tragedy. An ancient tragedy in which the hero is death. In Marseilles, even to lose you have to know how to fight.
I would lay down everything I possess, even my soul, for you. If that isn't love, it's the best I have.
The idea is to find some bit of holiness in everything-food, sex, earning and spending money, having children, conversations with friends. Everything can be seen as a miracle, as part of God's plan. When we can truly see this, we nourish our souls.
there's only one thing i know for certain anymore." he turned, his eyes a clear black. "that i would do anything for you, even if it means going against mu instincts or my very nature. i would lay down everything i possess, even my soul, for you. if that isn't love, it's the best i have.
The best gift I could give my father would be to represent India in the Olympics. If I can do that in 2016, and even win a medal, it will be fantastic.
Crime, violence, infamy are not tragedy. Tragedy occurs when a human soul awakes and seeks, in suffering and pain, to free itself from crime, violence, infamy, even at the cost of life. The struggle is the tragedy - not defeat or death. That is why the spectacle of tragedy has always filled men, not with despair, but with a sense of hope and exaltation.
Composing is to think. It is to have your mind trying to find what is the best sound that the movie is going for: the best melody, the best texture, the best structure and dramaturgic arc for the film. Then you discuss that with the director. He's the leader. He's the one showing you the path to follow to find the soul of the film.
I would like to see BoJack find some sort of peace. I don't know if happiness is the right word; I don't know if he deserves that... But I would like to think even a soul as lost as BoJack can somehow crawl his way toward redemption.
Tragedy depends on the way you see it. If you chose to be a victim of the world, anything which happens to you will feed that dark side of your soul, where you consider yourself wronged, suffering, guilty and deserving punishment. If you choose to be an adventurer, the changes - even the inevitable losses, since everything in this world changes - can cause some pain, but will soon thrust you forward, forcing you to react.
Cole kissed me.. It was the sort of kiss that would take a long time to recover from. You could take each of our kisses, from the very first moment we'd met and put them on a slide in a microscope, and I was pretty sure what you'd find. Even an expert would see nothing on the first one, and then on the next one, the start of something - mostly outnumbered, easily destroyed - and then more and more until finally this one, something that even the untrained eye could spot. Evidence that we'd probably never be cured of each other, but we might be able to keep it from killing us.
I find the best way to make things real is to just put two characters into a space and let them talk to each other in the way that they would talk to each other, and then see what they would say. I know it sounds weird, but that leads the plot and takes you in another direction.
The tragedy of love is not death or separation. How long do you think it would have been before one or other of them ceased to care? Oh, it is dreadfully bitter to look at a woman whom you have loved with all your heart and soul, so that you felt you could not bear to let her out of your sight, and realize that you would not mind if you never saw her again. The tragedy of love is indifference.
Sometimes it made him [Degas] furious that he could not find a chink in my armor, and there would be months when we just could not see each other, and then something I painted would bring us together again.
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