A Quote by H. L. Mencken

The feelings that Beethoven put into his music were the feelings of a god. There was something olympian in his snarls and rages, and there was a touch of hellfire in his mirth.
A man who knows the court is master of his gestures, of his eyes and of his face; he is profound, impenetratable; he dissimulates bad offices, smiles at his enemies, controls his irritation, disguises his passions, belies his heartm speaks and acts against his feelings.
Faith is the commitment of one's consciousness to beliefs for which one has no sensory evidence or rational proof. When man rejects reason as his standard of judgement, only one alternative standard remains to him: his feelings. A mystic is a man who treats his feelings as tools of cognition. Faith is the equation of feelings with knowledge
All composers who came after were influenced by Beethoven, even during his lifetime, both by his personality and by his music. He was a father figure for generations.
The doctors take the bodily evidence as the disease. . . . disease is itself an impudent opinion. He throws off the feelings of the sick and imparts to them his own which are perfect health, and his explanation destroys their feelings or disease. . . . He is like a captain who knows his business and feels confident in a storm, and his confidence sustains the crew and ship when both would be lost if the captain should give way to his fears.
And just like that, something inside shifted very subtly, so that all the empty spaces in him suddenly disappeared, so that his breath timed to hers, so that his blood sang. This is why there was music, he realized. There were some feelings that just didn’t have words big enough to describe them.
Modern man's besetting temptation is to sacrifice his direct perceptions and spontaneous feelings to his reasoned reflections; to prefer in all circumstances the verdict of his intellect to that of his immediate intuitions.
Elder McKinley wants his homosexuality to be turned off. To be a perfect Mormon, he has to put his feelings away.
In essence, sin is all that is in opposition to God. Sin defies God; it violates His character, His law, and His covenant. It fails, as Martin Luther put it, to 'let God be God.' Sin aims to dethrone God and strives to place someone or something else upon His rightful throne.
I don't always feel His presence. But God's promises do not depend upon my feelings; they rest upon His integrity.
John Lennon was just one of us, another human just trying to get through the day, and help make tomorrow a little better. And he was willing to put his thoughts and feelings about all that into his music, and when he had the chance to speak in interviews. He was only around for a short time, but he learned so much and was willing to give his heart and mind to all of us. What he had to say still resonates with me, with all of his fans.
I turned to look into his face one last time. It was as if I could see the whole universe in his eyes. Maybe he was God, maybe he was simply enlightened. I didn't care right then, in that blessed moment, I just loved him. Later, though, the love was to turn to hate, to fear. They seemed so opposite, the feelings, yet they were all one note on his flute.
He clings to his solitude, to his affected indifference and his grown-up ways, but it's just an act, so as never, never to show his real feelings.
The challenge of abating one with a genuine ego problem is to not try to put him down. Any and all antagonization, in his mind, is merely compensated for by his own descriptions: his feelings of persecution by the envious and his ideals of worth. Arguably, the genuine ego is more of a circumstantial defense mechanism rather than a steady arrogance in need of starvation.
The actor cannot afford to look only to his own life for all his material nor pull strictly from his own experience to find his acting choices and feelings.
The hero is a mind of such balance that no disturbances can shake his will, but pleasantly, and, as it were, merrily, he advancesto his own music, alike in frightful alarms and in the tipsy mirth of universal dissoluteness.
The most sinister aspect of Jack is his detachment, his ability to distance himself from his feelings.
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