A Quote by Philip Larkin
I am awakened each dawn
Increasingly to fear.
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For each thorn, there's a rosebud... For each twilight - a dawn... For each trial - the strength to carry on, For each storm cloud - a rainbow... For each shadow - the sun... For each parting - sweet memories when sorrow is done.
The inspiration for the book came after a visitation from a spiritual being that materialized before me on two consecutive nights. Although I crumpled into unconsciousness at the outset of each encounter and consciously remembered hearing only an initial word or two from the entity, I awakened on the dawn after the second visit with the ideas for The Divine Fire bubbling in my brain.
People need each other to help each other up. But we can't stand near each other because we fear each other. When you get over fear, nothing matters anymore but love.
What would dawn have been like, had you awakened? It would have sung through your bones. All I can do this morning is let it sing through mine.
The actor already comes with emotions to the scene: fear, the fear of being in front of the camera. It is this fear that spurs the emotion of the scene. I too am afraid; I don't know exactly what I am searching for. On the set, we are all participating in this fear together.
Quantum science suggests the existence of many possible futures for each moment of our lives. Each future lies in a state of rest until it is awakened by choices made in the present.
But when the dawn will come, of our emancipation, from the fear of bondage and the bondage of fear, why, that is a secret.
And that will increasingly dawn on people. The demand for controlling the commanding heights will grow.
Technology is going to play an increasingly, increasingly, increasingly important role in every industry. And it's good.
Those who dream must be awakened, and the deeper the people are who slumber, or the deeper they slumber, the more important it is that they be awakened, and the more powerfully must they be awakened.
Karen rowed for what the venerable American shell builder George Pocock called `the symphony of motion.' As dawn breaks over the river, the shell is lifted from its rack out into the morning. On another rack the oars hang ready to be greased and slipped into the locks. Then, awakened to the river and the feel of the oars, the oarsmen blend in fulfillment of the shell. The symphony is not of competition. It is the synchronous motion over water, the harmonic flexing of wood and muscle, where each piece of equipment and every oarsman is both essential to, and the limit of motion itself.
Sometimes, when I get a good picture, it feels like I have taken another nervous step into increasingly rarified air. Each good-news picture, no matter how hard-earned, allows me only a crumbling foothold on this steepening climb—an ascent whose milestones are fear and doubt.
I increasingly wonder whether most humans are in a constant state of unconsciously fearing each other. Perhaps they fear how intimately different other people might be to them, and the problem is that there is no real way of finding out just how huge that difference might be.
I have no fear, no fear at all. I wake up, and I have no fear. I go to bed without fear. Fear, fear, fear, fear. Yes, 'fear' is a word that is not in my vocabulary.
I am the sword in the darkness. I am the watcher on the walls. I am the fire that burns against the cold, the light that brings the dawn, the horn that wakes the sleepers, the shield that guards the realms of men.
I am simply a fairly typical product of a movable sensibility, living and working in a world that is itself increasingly small and increasingly mongrel. I am a multinational soul on a multinational globe on which more and more countries are as polyglot and restless as airports. Taking planes seems as natural to me as picking up the phone or going to school. I fold up my self and carry it around as if it were an overnight bag.
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