A Quote by Georges Duhamel
We can know nothing till after this grave debate. The soul must withdraw, for this is not its hour. Now the knife must divide the flesh, and lay the ravage bare, and do its work completely.
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I was cast in this commercial called "Hour After Hour." It was for a deodorant that won't wear off. And [Susan Sarandon] became the Hour After Hour girl after me. But I never met her. So I didn't really know Susan till after this movie [ "The Big Wedding"].
To speak of oneself means to lay bare one's own soul, expose it like a body to the sun. To lay bare one's own soul is not at all like taking off one's brassiere on a crowded beach!
And the rose like a nymph to the bath addrest,
Which unveiled the depth of her glowing breast,
Till, fold after fold, to the fainting air,
The soul of her beauty and love lay bare.
You cannot judge a man's life by the success of a moment, by the victory of an hour, or even by the results of a year. You must view his life as a whole. You must stand where you can see the man as he treads the entire path that leads from the cradle to the grave - now crossing the plain, now climbing the steeps, now passing through pleasant fields, now wending his way with difficulty between rugged rocks - tempted, tried, tested, triumphant.
Then he read the words of the scroll slowly, first in Japanese and then carefully translated into English: 'There is really nothing you must be. And there is nothing you must do. There is really nothing you must have. And there is nothing you must know. There is really nothing you must become. However. It helps to understand that fire burns, and when it rains, the earth gets wet. . . .' 'Whatever, there are consequences. Nobody is exempt,' said the master.
We hear much nowadays as to the speculative ideas of men concerning the condition beyond the grave; but the admission that there is an individual existence beyond the grave, is a declaration that there must have been an individual, intelligent creation before we came here in the flesh. Life beyond the grave postulates a pre-existent state.
I love you, I know this must come as something of a surprise, since all I’ve ever done is scorn you and degrade you and taunt you, but I have loved you for several hours now, and every second, more. I thought an hour ago that I loved you more than any woman has ever loved a man, but a half hour after that I knew that what I felt before was nothing compared to what I felt then. But ten minutes after that, I understood that my previous love was a puddle compared to the high seas before a storm.
The vows we take in the holy place bind us till we are purged of them at Inanda's Kraal. Till then no blood must be shed and no flesh eaten. It was the fashion of our forefathers.
One flesh. Or if you prefer, one ship. The starboard engine has gone. I, the port engine, must chug along somehow till we make harbour. Or rather, till the journey ends.
At home the great delight is to see the clover and grass now growing on places that were bare when we came. These small healings of the ground are my model accomplishment-everything else I do must aspire to that. While I was at that work the world gained with every move I made, and I harmed nothing.
Love can do all but raise the Dead I doubt if even that From such a giant were withheld Were flesh equivalent But love is tired and must sleep, And hungry and must graze And so abets the shining Fleet Till it is out of gaze.
I think there is a debate in the arts about, you know, whether we must strive for art for art's sake, and you know, kind of try to keep political debate out of our work. And to that I say, I'd like you to show me an example of, you know, this so-called apolitical art. I don't think there's any such thing.
I must keep alive in myself the desire for my true country, which I shall not find till after death; I must never let it get snowed under or turned aside; I must make it the main object of life to press on to that other country and to help others to do the same.
It's important to cultivate detachment. One way to do this is to practice imagining yourself dead, or in the process of dying. If there's a window, you must imagine your body falling out the window. If there's a knife, you must imagine the knife piercing your skin. If there's a train coming, you must imagine your torso flattened under its wheels. These exercises are necessary to achieving the proper distance.
First, as an owner of the club, you must choose a style of football. After that, you must find the managers that will work with the young players in your team in that style. After that, you must put a manager in the squad with the same mentality.
The crucial thing in any work of any kind is that it must be a gift - the reader must possess it even more than the person who wrote it. It must be given completely.
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