A Quote by Randhir Kapoor
And Babita is in a happy space by herself. She's not got married again and nor does she intend to, neither do I. She continues to be my wife and I continue to be her incorrigible, horrible husband. So be it!
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When the soul is naughted and transformed, then of herself she neither works nor speaks nor wills, nor feels nor hears nor understands; neither has she of herself the feeling of outward or inward, where she may move. And in all things it is God who rules and guides her, without the meditation of any creature.... And she is so full of peace that thought she pressed her flesh, her nerves, her bones, no other thing come forth from them than peace.
The universal nature has no external space; but the wondrous part of her art is that though she has circumscribed herself, everything which is within her which appears to decay and to grow old and to be useless she changes into herself, and again makes other new things from these very same, so that she requires neither substance from without nor wants a place into which she may cast that which decays. She is content then with her own space, and her own matter, and her own art.
Babita is happy where she is. We are certainly together, it is just that we decided to stay separately. She is still my wife and I am her husband.
The Girl of the Period, sauntering before one down Broadway, is one panorama of awful surprises from top to toe. Her clothes characterize her. She never characterizes her clothes. She is upholstered, not ornamented. She is bundled, not draped. She is puckered, not folded. She struts, she does not sweep. She has not one of the attributes of nature nor of proper art. She neither soothes the eye like a flower, nor pleases it like a picture. She wearies it like a kaleidoscope. She is a meaningless dazzle of broken effects.
There was a warmth of fury in his last phrases. He meant she loved him more than he her. Perhaps he could not love her. Perhaps she had not in herself that which he wanted. It was the deepest motive of her soul, this self-mistrust. It was so deep she dared neither realise nor acknowledge. Perhaps she was deficient. Like an infinitely subtle shame, it kept her always back. If it were so, she would do without him. She would never let herself want him. She would merely see.
Elisabeth, again, while she praises her, is so far from hiding the Divine glory, that she ascribes everything to God. And yet, though she acknowledges the superiority of Mary to herself and to others, she does not envy her the higher distinction, but modestly declares that she had obtained more than she deserved.
She (Daisy) dug her nails into her palms and told herself she had no choice. "I, Theodosia..." She gulped for air. "...take thee Alexander..." She gulped again. "...to be my awful wedded husband.
Charity never lacks what is her own, all that she needs for her own security. Not alone does she have it, she abounds with it. She wants this abundance for herself that she may share it with all; and she reserves enough for herself so that she disappoints nobody. For charity is perfect only when full.
I think when an actress marries she should leave the stage. She cannot be happy if she is married and remains on the stage. She must care more for her art or for her husband.
Later on Lady Maccon was to describe that particular day as the worst of her life. She had neither the soul nor the romanticism to consider childbirth magical or emotionally transporting. So far as she could gather it mostly involved pain indignity and mess. There was nothing engaging or appealing about the process. And as she told her husband firmly she intended never to go through it again.
She emptied herself of Fabio and of herself, of all the useless efforts she had made to get where she was and find nothing there. With detached curiosity she observed the rebirth of her weaknesses, her obsessions. This time she would let them decide, since she hadn't been able to do anything anyway. Against certain parts of yourself you remain powerless, she said to herself, as she regressed pleasurably to the time when she was a girl.
She was in a terrible marriage and she couldn't talk to anyone. He used to hit her, and in the beginning she told him that if it ever happened again, she would leave him. He swore that it wouldn't and she believed him. But it only got worse after that, like when his dinner was cold, or when she mentioned that she'd visited with one of the neighbors who was walking by with his dog. She just chatted with him, but that night, her husband threw her into a mirror.
I say, 'Yeah, Taylor Swift.' I think she is a smart, beautiful girl. I think she's making all the right moves. She's got a good head on her shoulders. She's surrounded with wonderful people. Her songs are great. She keeps herself anchored. She knows who she is, and she's living and standing by that.
Through True Love, she merges with Him. She who does not know her Husband Lord, the Architect of karma, is deluded by falsehood she herself is false.
She wanted to be herself again, to recover all that she had been obliged to give up in half a century of servitude that had doubtless made her happy but which, once her husband was dead, did not leave her even the vestiges of her identity.
A mother experiences more than one death, even though she herself will only die once. She fears for her husband; she fears for her children; again she fears for the women and children who belong to her children. ... For each of these-whether for loss of possessions, bodily illness, or undesired misfortune-she mourns and grieves no less than those who suffer.
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