A Quote by George Eliot

trouble always seems heavier when it is only one's thought and not one's bodily activity that is employed about it. — © George Eliot
trouble always seems heavier when it is only one's thought and not one's bodily activity that is employed about it.
There's one good thing about getting in trouble: It seems like you do it in steps. It seems like you don't just end up in trouble but that you kind of ease yourself into it. It also seems like the worse the trouble is that you get into, the more steps it takes to get there. Sort of like you're getting a bunch of little warnings on the way; sort of like if you really wanted to you could turn around.
I thought if the climate was heating that CO2 was the only forcing, and it would be late in the century before we had trouble. Now that we know about the other half of the forcing, it's obvious that the trouble is coming much sooner.
The regularity with which we conclude that further advances in a particular field are impossible seems equaled only by the regularity with which events prove that we are of too limited vision. And it always seems to be those who have the fullest opportunity to know who are the most limited in view. What, then, is the trouble? I think that one answer should be: we do not realize sufficiently that the unknown is absolutely infinite, and that new knowledge is always being produced.
There is always a comforting thought in time of trouble when it is not our trouble.
Better never trouble trouble until trouble troubles you; for you only make your trouble double trouble when you do.
I'd never thought about acting as a job. I was an engineer; I was in science and technology. I loved movies and television growing up, but I'd never thought about it as, 'Oh, that guy Denzel Washington is employed as an actor.'
Classical music is at odds with contemporary culture precisely because of its insistence on the tension between the bodily and intellectual, the material and the spiritual, the thinglike and its transcendence in thought. A culture that is merely sensuous and that denies the activity of the mind within sensuous materials risks becoming pornographic.
I'm very happy to be employed. I always contend that in show business that if you're employed, then you're successful.
I don't believe in trouble. Because I think that trouble is sometimes good, sometimes bad. I've been known to be called trouble, which I think is quite a compliment. But I suppose, thinking about it, that my best and worst trouble has always had something to do with a man.
It is wonderful how the mind is stirred and quickened into activity by brisk bodily exercise.
I was getting really influenced by some darker, heavier electro stuff, like Crystal Castles. And I was listening to some dub-step elements, so I thought this was going to be the natural progression, taking my soft melodies and my soft voice and marrying it with something a little heavier.
I think you write only out of a great trouble. A trouble of excitement, a trouble of enlargement, a trouble of displacement in yourself.
I am interested in anything about revolt, disorder, chaos-especially activity that seems to have no meaning. It seems to me to be the road toward freedom... Rather than starting inside, I start outside and reach the mental through the physical.
Where there is much general deformity nature has often, perhaps generally, accorded some one bodily grace even in over-measure. So, no doubt, with the intellect and disposition, only it is frequently less apparent, and we give ourselves but little trouble to discover it.
It's very hard to write about that which is always beautiful and pleasant and good. You don't get anywhere with it. There's no friction in it. There's no trouble. You have to have trouble. Somebody's got to get in trouble, or no one wants to read it.
My parents always wanted me to do music because they thought it was such a great extracurricular activity but we never thought it was going to be something that would be my career.
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