A Quote by H. L. Mencken
Love, to the inferior man, remains almost wholly a physical matter. The heroine he most admires is the one who offers the grossest sexual provocation; the hero who makes his wife roll her eyes is a perambulating phallus.
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Only one thing makes a man a man. He loves his wife, is faithful to her, and puts his wife and kids as the most important things in life.
The difference between an admirer and a follower still remains, no matter where you are. The admirer never makes any true sacrifices. He always plays it safe. Though in words, phrases, songs, he is inexhaustible about how highly he prizes Christ, he renounces nothing, gives up nothing, will not reconstruct his life, will not be what he admires, and will not let his life express what it is he supposedly admires.
I gave examples from my clinical practice of how love was not wholly a thought or feeling. I told of how that very evening there would be some man sitting at a bar in the local village, crying into his beer and sputtering to the bartender how much he loved his wife and children while at the same time he was wasting his family's money and depriving them of his attention. We recounted how this man was thinking love and feeling love--were they not real tears in his eyes?--but he was not in truth behaving with love.
I love that Moana is a heroine, and I hope people take that away, and that you most certainly can be the heroine, or hero, of your own story.
In the '80s, there was a fixed costume of a heroine, and not the physical costume, but this is what a heroine is, she is an art prop. She will look beautiful, support the hero, dance, get saved by hero. I didn't ever aim to go there.
If a superior woman marry a vulgar or inferior man, he makes her miserable, but seldom governs her mind or vulgarizes her nature; and if there be love on his side, the chances are that in the end she will elevate and refine him.
It was the wife, John thought. And she was giving this tough guy a tongue-lashing. And the man was taking it. "Okay. I love you. Bye." Tohrment flipped the phone closed and put it in his pocket. When he focused on John again, he clearly respected his wife enough not to roll his eyes and make some macho, shithead comment about pesky women.
A man's sexual choice is the result and the sum of his fundamental convictions.... He will always be attracted to the woman who reflects his deepest vision of himself, the woman whose surrender permits him to experience a sense of self-esteem. The man who is proudly certain of his own value, will want the highest type of woman he can find, the woman he admires, the strongest, the hardest to conquer--because only the possession of a heroine will give him the sense of an achievement.
On OTT, it's not about her or heroine, every single character is powerful and a hero, heroine in their own space.
When a man's life is over, it remains true that he was one sort of man and not another. A man who understands himself under the form of eternity knows the quality that eternally belongs to him, and knows that he cannot wholly die, even if he would, for when the movement of his life is over, the truth of his life remains.
The ordinary man is as courageous and invulnerable as a hero when he does not recognize any danger, when he has no eyes to see it.Conversely, the hero's only vulnerable spot is on his back, and so exactly where he has no eyes.
It's odd how a person always arouses admiration for his moral qualities among the relatives of another with whom he has sexual relations. Physical love, so unjustifiably decried, makes everyone show, down to the least detail, all he has of goodness and self-sacrifice, so that he shines even in the eyes of those nearest to him.
If you want to know what a man's character is really like... ask him to tell you the living person he most admires - for hero worship is the truest index of a man's private nature.
The love story between the hero and the heroine has to be at the center of the book. I think that's pretty true in my books. I usually write a secondary love story, with maybe nontraditional characters. Sometimes I write older characters. I'm interested in female friendships, and family relationships. So I don't write the traditional romance, where you just have the hero and the heroine's love story. I like intertwining relationships.
The amusement fled from Royce's face and with a groan he pulled her roughly against his chest, crushing her to him. "Jenny," he whispered hoarsely, burying his face in her fragrant hair. "Jenny, I love you." She melted against him, molding her body to the rigid contours of his, offering her lips up for his fierce, devouring kiss, then she took his face between both her hands. Leaning back slightly against his arm, her melting blue eyes gazing deeply into his, his wife replied in a shaky voice, "I think, my lord, I love you more.
Miserable is the man who loves a woman and takes her for his wife, pouring at her feet the sweat of his skin and the blood of his body and the life of his heart, and placing her in the hands of the fruit of his toil and the revenue of his diligence; for when he slowly wakes up, he finds that the heart that he endeavored to buy is given away freely and in sincerity to another man for the enjoyment of its hidden secrets and deepest love.
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