A Quote by Frederick Lenz

A strong onslaught of the nagual would upset your balance completely. — © Frederick Lenz
A strong onslaught of the nagual would upset your balance completely.
You need your reason to pass through the world and also to experience the nagual, because if you become all nagual, we'll lock you away in an institution.
One can say that the nagual accounts for creativity. The nagual is the only part of us that can create.
I examine each student carefully: Is there a balance between their tonal and their nagual?
If we didn't want to upset anyone, we would make films about sewing, but even that could be dangerous. But I think finally, in a film, it is how the balance is and the feelings are. But I think there has to be those contrasts and strong things within a film for the total experience.
Humor is the balance of the tonal. Within the tonal you've got reason and humor. The two balance each other so that the tonal can accept and understand the journeys into the nagual.
The toughest part is that when your kid's upset, you're upset. You're rocked until they're not upset. Even when they're not upset, you're like, "I hope that doesn't happen, down the line." You're always nervous because you want your kid to be happy.
When you can command the nagual you have a great deal of power, and people know it intuitively. They feel if they can plunge themselves into the nagual they can get anything they want in the tonal.
A house built on granite and strong foundations, not even the onslaught of pouring rain, gushing torrents and strong winds will be able to pull down.
The perfect aphorism would achieve classical balance and then immediately upset it.
We started on the pole but by Lap 150 we were ninth or 10th and we were struggling. The car was sliding around a lot, but I did not get upset. I just said, 'Let's just keep working hard.' Last year, I would have been so upset about getting passed by those cars I would have been overly aggressive and would have worn our tires out. You can't do that in a 500-mile race if you want to be strong at the end.
When I began modelling I was completely unprepared for the onslaught of curiosity it carried with it.
The last thing I want my child to see is Dad running around in the middle of the pack. That would really upset me. And that would upset him. I would be embarrassed to take him to school with kids saying, 'Hey, how'd your dad do this weekend?' 'Well, he finished fifth or sixth'.
For a ballerina, the center of balance is everything - creating a strong center of balance begins with building strong abdominal muscles.
The balance of power is the scale of peace. The same balance would be preserved were all the world not destitute of arms, for all would be alike; but since some will not, others dare not lay them aside ... Horrid mischief would ensue were one half the world deprived of the use of them ... the weak will become prey to the strong.
My point is that the great challenge of an artist is to balance those two things: to be strong enough to have your own personal vision that you will put on the page or the canvas or the screen, no matter what people say, but it requires a radical sensitivity. You have to be completely open to what the world is telling you, to what your audience tells you. And balancing those two things is nearly impossible.
Action is basically a reaction against loss of balance - a flailing of the arms to to regain one's balance. To dispose a soul to action, we must upset its equilibrium.
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