A Quote by Grace Helbig

Young love is so ridiculous, as is middle-aged and old love. And it's also hilarious. When have you ever felt so vulnerable and wonderful and terrible at the same time? — © Grace Helbig
Young love is so ridiculous, as is middle-aged and old love. And it's also hilarious. When have you ever felt so vulnerable and wonderful and terrible at the same time?
Love is ridiculous. But love is also wonderful. And powerful. And Despereaux's love for the Princess Pea would prove, in time, to be all of these things: powerful, wonderful, and ridiculous.
Reader, you may ask this queston. In fact, you must ask this question. Is it ridiculous for a very small, sickly, big-eared mouse to fall in love with a beautiful princess named Pea? The answer is... Yes. Of course it's ridiculous. Love is ridiculous. But love is also wonderful. And powerful.
Love is the word used to label the sexual excitement of the young, the habituation of the middle-aged, and the mutual dependence of the old.
I felt so full of love for everything. But at the same time, I felt so hung out there to dry, like nobody could ever understand. I felt so alone in this world, and so loved at the same time.
The wonderful part about me and Manek getting engaged is that it has given so many middle-aged people hope who have suddenly realized that love is possible and future relationships can be strong, vibrant and wonderful.
I tell you old and young are better than tired middle-aged, nothing is so dead dead-tired, dead every way as middle-aged.
If a film is about love, it tends to be about tortured love or discovering love or young love. It's not this wonderful kind of comfortable, old resilient love.
I suppose middle-aged love is interesting for middle-aged people.
There are two barriers that often prevent communication between the young and their elders. The first is middle-aged forgetfulness of the fact that they themselves are no longer young. The second is youthful ignorance of the fact that the middle aged are still alive.
To marry a woman with any success a man must have a total experience of her, he must come to see her and accept her in time as well as in space. Besides coming to love what she is now, he must also come to realize and love equally the baby and the child she once was, and the middle-aged woman and the old lady she will eventually become.
Every woman dreams of love. When she is young she prays she will find it. When she is middle aged she hopes for it and when she is old she remembers it.
It is the fear of middle-age in the young, of old-age in the middle-aged, which is the prime cause of infidelity, that infallible rejuvenator.
To make a love story, you need a couple of young people, but to reflect on the nature of love, you're better off with old ones. That is a fact of life and literature - and of the novel ever since it fell in love with love in the 18th century.
When we're young, everyone over the age of thirty looks middle-aged, everyone over fifty antique. And time, as it goes by, confirms that we weren't that wrong. Those little age differentials, so crucial and so gross when we are young erode. We end up all belonging to the same category, that of the non-young. I've never much minded this myself.
Facion goes in cycles but nothing has changed. When it's ridiculous it's more ridiculous than ever, and when it's wonderful it becomes more wonderful than ever because now more people think: "I dress the body I have, not I have to change the body to wear the fashion." That's what I admire about the growth of the fashion industry. I also think it's wonderful that there is the opportunity to use different textures and fabrics on different colour skins. I am inspired by that.
The only time you really live fully is from thirty to sixty. The young are slaves to dreams; the old servants of regrets. Only the middle-aged have all their five senses in the keeping of their wits.
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