Inspirational quotes with climax.
If one wanted to depict the whole thing graphically, every episode, with its climax, would require a three-dimensional, or, rather, no model: every experience is unrepeatable. What makes lovemaking and reading resemble each other most is that within both of them times and spaces open, different from measurable time and space.
Do you see the slightest evidence anywhere in the universe that creation came to an end with the birth of man? Do you see the slightest evidence anywhere out there that man was the climax toward which creation had been straining from the beginning? ...Very far from it. The universe went on as before, the planet went on as before. Man's appearance caused no more stir than the appearance of jellyfish.
You become more divine as you become more creative. All the religions of the world have said God is the creator. I don’t know whether he is the creator or not, but one thing I know: the more creative you become, the more godly you become. When your creativity comes to a climax, when your whole life becomes creative, you live in God. So he must be the creator because people who have been creative have been closest to him. Love what you do. Be meditative while you are doing it – whatsoever it is
In The Sunset SkyThe sunset sky dazzling with the golden hues, Taking bow in brilliant sparkle of experienceIs it not a climax, of the story so far, that was today?Or is it building anticipation of the night yet to come. Watch the days go, some proud of their accomplishmentsSome leaving sighs of disappointments, Leaving all in awe of its Amaranthine twists and turns And the fortunate get to see the moon trying to steal the show from setting sun,Oh she is such a show off, isn't she, basking in reflected gloryIts magical, the sunset sky,Puzzling, sometimes just like a riddle,Leaving the nature stunned and amazed For it has been filling the canvas whole day with colours And now the sunset threatens to hide them all And in dark all the colours will be sameA cue for the wise.Sunset sky has so much to offer, is she not a fine exampleof how uncertain a life can beOften reminding no matter what you planned, there will besome unexpected returnsFor End has its own brain, its own scriptCharting its own courseSo why just the beginning,every moment of the life should be grand, meted with equal passion and fervorShe has been so clever; the sunset skyLeaving Twinkling cryptic messages for the night skyFor even the dark has sparkle and hope if you keep your head up, A constant reminder that exuberance is an attitude of deep,rich, warm heartsI want my sunset sky to be grand, magical, and full of stories of my life that has been And its memories to linger on in this world, in the tomorrow and a few more years to come
Mr. Polly went into the National School at six and he left the private school at fourteen, and by that time his mind was in much the same state that you would be in, dear reader, if you were operated upon for appendicitis by a well-meaning, boldly enterprising, but rather over-worked and under-paid butcher boy, who was superseded towards the climax of the operation by a left-handed clerk of high principles but intemperate habits,—that is to say, it was in a thorough mess.
The conventional parabola--sentiment, the touch of the hand, the kiss, the passionate kiss, the feel of the body, the climax in the bed, then more bed, then less bed, then the boredom, the tears and the final bitterness--was to him shameful and hypocritical.
WHAT 28 FEELS LIKEEvery year of your 20s is subject to a very specific set of emotions, at least that’s what I think. 21 is great for obvious, surface-level reasons. 22 is a train wreck if you graduated in four years, and are then thrust into real life. 25 is when pretty much everything changes – from your priorities to your body. And, then, there’s 28. I don’t know what it is about this age in particular, but I’ve deemed it “The Crisis Year” and here’s why.1. The realization that you’re now officially in your “late 20s” is enough to send you straight into the climax of a full-blown panic attack. You don’t even get to start at the beginning of the said attack, no. You wake up on your 28th birthday, screaming and dry heaving. It’s an instinctual reaction to knowing that, for the next 365 days of your life, you will be teetering on the fine line between actual adulthood and clutching on desperately to your youth.2. Because you’re now in your late 20s, your parents start to treat you more like an GULP adult. Even if you’ve been paying your own way since forever, maybe you both secretly knew deep down that, in case of a huge emergency, asking them for help wasn’t off-limits. But, when 28 hits, it’s no longer an option.3. You just feel old(er). There’s something about the curvy lines of the number “8” that cast a darker and much more serious shadow over things. You’ll still go out to popular nightlife establishments, but you will be internally ashamed about your age the entire time you’re there. And the horror if someone is to ask you how old you are! Being 26 in a nightclub is vastly different. Probably because you’re still in your mid-20s and because the shape of the number “6” is naturally fun and loopy, so it makes you feel safe.4. Everyone you know is getting engaged.5. Everyone you know is getting married.6. Almost everyone you know who is married, is pregnant.7. Let’s face it – after graduation, no one’s never not getting married. Before your eyes, your Facebook feed turns into an endless stream of engagement announcements. And, unless you decide to cast yourself out of society, this parade of seemingly happy couples moving forward together won’t slow down until probably age 30. But there’s something about the specific age of 28 that lends itself to just being drowned in marriage announcements no matter where you turn. It’s either couples who have been together for 6+ years finally taking the plunge, or “real world” couples who met a few years ago and got super serious, super fast. Either way, it’s a single 28-year-old’s worst nightmare.8. Being tw0 years away from 30 is a bleak reality to face. Four years is like no big deal, because that’s an entire university experience. But two? Two will soon be one, and then you’re 30. 20somethings are delusional in many ways, but one of the biggest is how we think, by 30, our entire lives should be figured out. Married, babies, dream job, bla bla bla – all by 30. It’s a subtle attitude we all have that wants to scream, “30 OR BUST!” But, the closer you inch toward that milestone birthday, the more you realize what a total crock of shit all that is. And how you couldn’t be further away from having it all figured out if you tried.9. Going back to one of the first points I made, being 28 is like being a brand new, beginner’s level gymnast, perilously seesawing between “real” adulthood and (what feel like) the last crumbs of your true youth. Half of you feels an enormous pressure to fully grow-up, while the other half of you is crippled by the notion of doing so. On one hand, you are sort of ready to get serious about love, career, and overall responsibility. On the other hand, you just want to continue making out at random, dating idiots, and generally freaking the fuck out over the future. Every day you wake up, there’s no telling which of these two ideals your mood is going t
The next visit I paid to Nancy Brown was in the second week in March: for, though I had many spare minutes during the day, I seldom could look upon an hour as entirely my own; since, when everything was left to the caprices of Miss Matilda and her sister, there could be no order or regularity. Whatever occupation I chose, when not actually busied about them or their concerns, I had, as it were, to keep my loins girded, my shoes on my feet, and my staff in my hand; for not to be immediately forthcoming when called for, was regarded as a grave and inexcusable offence: not only by my pupils and their mother, but by the very servant, who came in breathless haste to call me, exclaiming 'You're to go to the school-room directly, mum- the young ladies is WAITING!!' Climax of horror! actually waiting for their governess!!!
I had as yet no notion that life every now and then becomes literature—not for long, of course, but long enough to be what we best remember, and often enough so that what we eventually come to mean by life are those moments when life, instead of going sideways, backwards, forward, or nowhere at all, lines out straight, tense and inevitable, with a complication, climax, and, given some luck, a purgation, as if life had been made and not happened.
The bullets are gun-eggs,” Collingswood said to Baron, looking at Vardy. Farmers squeezing their holy metal beasts to percussive climax, fertilisation by cordite expulsion, violent ovipositors. Seeking warm places full of nutrients, protecting baby guns deep in the bone cages, until they hatched.
Where are we?” I interrupted Gregory as he spoke with the other angels. He looked around. “Intercourse, Pennsylvania.” I snorted—he said “intercourse”. What a great name for a town. I needed to move to Intercourse, Pennsylvania. I wondered if there was a Climax, Pennsylvania? Gregory’s lips twitched. “Yes, there’s a Climax, Pennsylvania. It takes about four hours to get there by car from Intercourse.” I didn’t know what was more funny, the fact that Climax was four hours from Intercourse or that the two angels standing beside Gregory had expressions of horror on their faces. An archangel, the archangel, had just made a sex joke. Damn, I loved him. “I can get there faster,” I choked out between laughter that nearly brought me to my knees. “Because four hours from intercourse to climax is cause for immediate medical attention.” He waved a hand. “For paltry humans, maybe. Four hours for an angel is a quickie.” Those other two angels looked as if they were ready to sink through the ground. “Oh, please, can we have a quickie? I’ve got four hours to spare, and we are in Intercourse. It’s fate.
When an artist is asked to speak about form, you expect something different than when a critic talks about it. Because you think that somewhere between sentences and words, the secret will slip out. I am trying to give you that secret; it isn't a secret at all, but it is building solidly, not using secrets. I had been trying to extend into metaphysical extension; that film is changing, metamorphic; that is, infinite; the idea that the movement of life is totally important rather than a single life. My films were built on an incline, an increase in intensity. I hoped to make a form which was infinite, the changingness of things. I thought I would want to find a total form which conveyed that sense, particularly in reference to an Oriental subject. My impression was: one is walking down a corridor of a hotel. One hears a sound, opens a door and a man is playing; one listens for three minutes and closes the door. The music went on before you opened the door and it continues after you close the door. There was neither beginning nor end. Western music increases in intensity to a climax and then resolves itself. Oriental music is infinite; it goes on and on. The Chinese theater goes on for hours and hours with time for lunch moving scenery, etc.
The garden has wrapped itself in autumn haze. An unusual autumn, lacking that thrill of vegetal warmth when the sap is still alive and holds up the trees, drunk on solar gold. It is the sorrowful climax of a summer's drought. Never before was I so struck by the cancerous emaciation in a garden. The leaves started turning yellow in July and began falling, like a dance of prematurely withered bodies.
When pain is intense, you are at a climax. You can then see the light of transcendence.
Yes, I am finally a match for Amy. The other morning I woke up next to her, and I studied the back of her skull. I tried to read her thoughts. For once I didn't feel like I was staring into the sun. I'm rising to my wife's level of madness. Because I can feel her changing me again: I was a callow boy, and then a man, good and bad. Now at last I'm the hero. I am the one to root for in the never-ending war story of our marriage. It's a story I can live with. Hell, at this point, I can't imagine my story without Amy. She is my forever antagonist.We are one long frightening climax.
Music is much like fucking, but some composers can't climax and others climax too often, leaving themselves and the listener jaded and spent.
The music as always had a dark sweet luster, but it was more than ever like an endless beginning-a theme ever building to a climax which would never come.
I do not think that a man's rise to power is necessarily the climax of his life or that his loss of office should be equated with his fall.
The term - 'Fairy-Tales' is so ironical in itself, when I sometimes sit to write love stories with a happy ending, it usually drags me into a dilemma whether, I should even begin with a love story at first place or not? Because honestly, I haven't seen many of them reaching climax, most of them just die out in the mid. Then comes the concept of fairy tales or what we say 'fiction', where nothing is impossible!But over time, if I've realized something, it is that there's no such term called fiction when it comes to reality! Its harsh, in-your-face-sarcastic, ironical and highly irrational. You can't expect what's coming up next, and how it's going to blow you. In the real life, the entire meaning of fiction ceases to exist. Conclusively, we writers, deal with harsh reality and write lively fictions, this job in itself is so ironical but, that's life...
Okay, you know, is it weird to get so depressed watching a children’s Christmas special— Oh, wait, I shouldn’t say that. I mean, that’s not a good word. It’s not just “sadness,” the way one feels sad at a film or a funeral. It’s more of a plummeting quality. Or the way, you know, the way that light gets in winter just before dusk, or the way she is with me. All right, at the height of lovemaking, you know, the very height, when she’s starting to climax, and she’s really responding to you now, you know, her eyes widening in that way that’s both, you know, surprise and recognition, which not a woman alive could fake or feign if you really look intently at her, really see her. And I don’t know, this moment has this piercing sadness to it, of the loss of her in her eyes. And as her eyes, you know, widen to their widest point and as she begins to climax and arch her back, they close. You know, shut, the eyes do. And I can tell that she’s closed her eyes to shut me out. You know, I become like an intruder. And behind those closed lids, you know, her eyes are now rolled all the way around and staring intently inward into some void where l, who sent them, can’t follow.
Suddenly, by the sort of violent effort with which one wrenches one's head away from the pillow in a nightmare, Winston succeeded in transferring his hatred from the face on the screen to the dark−haired girl behind him. Vivid, beautiful hallucinations flashed through his mind. He would flog her to death with a rubber truncheon. He would tie her naked to a stake and shoot her full of arrows like Saint Sebastian. He would ravish her and cut her throat at the moment of climax. Better than before, moreover, he realized why it was that he hated her. He hated her because she was young and pretty and sexless, because he wanted to go to bed with her and would never do so, because round her sweet supple waist, which seemed to ask you to encircle it with your arm, there was only the odious scarlet sash, aggressive symbol of chastity.
Slowly, but very deliberately, the brooding edifice of seduction, creaking and incongruous, came into being, a vast Heath Robinson mechanism, dually controlled by them and lumbering gloomily down vistas of triteness. With a sort of heavy-fisted dexterity the mutually adapted emotions of each of them became synchronised, until the unavoidable anti-climax was at hand. Later they dined at a restaurant quite near the flat.
Hardly had the light been extinguished, when a peculiar trembling beganto affect the netting under which the three children lay.It consisted of a multitude of dull scratches which produced a metallicsound, as if claws and teeth were gnawing at the copper wire. This wasaccompanied by all sorts of little piercing cries.The little five-year-old boy, on hearing this hubbub overhead, andchilled with terror, jogged his brother's elbow; but the elder brotherhad already shut his peepers, as Gavroche had ordered. Then the littleone, who could no longer control his terror, questioned Gavroche, but ina very low tone, and with bated breath:--"Sir?""Hey?" said Gavroche, who had just closed his eyes."What is that?""It's the rats," replied Gavroche.And he laid his head down on the mat again.The rats, in fact, who swarmed by thousands in the carcass of theelephant, and who were the living black spots which we have alreadymentioned, had been held in awe by the flame of the candle, so long asit had been lighted; but as soon as the cavern, which was the sameas their city, had returned to darkness, scenting what the goodstory-teller Perrault calls "fresh meat," they had hurled themselves inthrongs on Gavroche's tent, had climbed to the top of it, and had begunto bite the meshes as though seeking to pierce this new-fangled trap.Still the little one could not sleep."Sir?" he began again."Hey?" said Gavroche."What are rats?""They are mice."This explanation reassured the child a little. He had seen white mice inthe course of his life, and he was not afraid of them. Nevertheless, helifted up his voice once more."Sir?""Hey?" said Gavroche again."Why don't you have a cat?""I did have one," replied Gavroche, "I brought one here, but they ateher."This second explanation undid the work of the first, and the littlefellow began to tremble again.The dialogue between him and Gavroche began again for the fourth time:--"Monsieur?""Hey?""Who was it that was eaten?""The cat.""And who ate the cat?""The rats.""The mice?""Yes, the rats."The child, in consternation, dismayed at the thought of mice which atecats, pursued:--"Sir, would those mice eat us?""Wouldn't they just!" ejaculated Gavroche.The child's terror had reached its climax. But Gavroche added:--"Don't be afraid. They can't get in. And besides, I'm here! Here, catchhold of my hand. Hold your tongue and shut your peepers!
Devaluation of the Earth, hostility towards the Earth, fear of the Earth: these are all from the psychological point of view the expression of a weak patriarchal consciousness that knows no other way to help itself than to withdraw violently from the fascinating and overwhelming domain of the Earthly. For we know that the archetypal projection of the Masculine experiences, not without justice, the Earth as the unconscious-making, instinct-entangling, and therefore dangerous Feminine. At the same time the projection of the masculine anima is mingled with the living image of the Earth archetype in the unconscious of man; and the more one-sidedly masculine man's conscious mind is the more primitive, unreliable, and therefore dangerous his anima will be. However, the Earth archetype, in compensation to the divinity of the archetype of Heaven and the Father, that determined the consciousness of medieval man, is fused together with the archaic image of the Mother Goddess.Yet in its struggle against this Mother Goddess, the conscious mind, in its historical development, has had great difficulty in asserting itself so as to reach its – patriarchal - independence. The insecurity of this conscious mind-and we have profound experience of how insecure the position of the conscious mind still is in modern man-is always bound up with fear of the unconscious, and no well-meaning theory "against fear" will be able to rid the world of this deeply rooted anxiety, which at different times has been projected on different objects. Whether this anxiety expresses itself in a religious form as the medieval fear of demons or witches, or politically as the modern fear of war with the State beyond the Iron Curtain, in every case we are dealing with a projection, though at the same time the anxiety is justified. In reality, our small ego-consciousness is justifiably afraid of the superior power of the collective forces, both without and within.In the history of the development of the conscious mind, for reasons which we cannot pursue here, the archetype of the Masculine Heaven is connected positively with the conscious mind, and the collective powers that threaten and devour the conscious mind both from without and within, are regarded as Feminine. A negative evaluation of the Earth archetype is therefore necessary and inevitable for a masculine, patriarchal conscious mind that is still weak. But this validity only applies in relation to a specific type of conscious mind; it alters as the integration of the human personality advances, and the conscious mind is strengthened and extended. A one-sided conscious mind, such as prevailed in the medieval patriarchal order, is certainly radical, even fanatical, but in a psychological sense it is by no means strong. As a result of the one-sidedness of the conscious mind, the human personality becomes involved in an equally one-sided opposition to its own unconscious, so that actually a split occurs. Even if, for example, the Masculine principle identifies itself with the world of Heaven, and projects the evil world of Earth outwards on the alien Feminine principle, both worlds are still parts of the personality, and the repressing masculine spiritual world of Heaven and of the values of the conscious mind is continually undermined and threatened by the repressed but constantly attacking opposite side. That is why the religious fanaticism of the representatives of the patriarchal World of Heaven reached its climax in the Inquisition and the witch trials, at the very moment when the influence of the archetype of Heaven, which had ruled the Middle Ages and the previous period, began to wane, and the opposite image of the Feminine Earth archetype began to emerge.
When it begins it is like a light in a tunnel, a rush of steel andsteam across a torn up life. It is a low rumble, an earthquake in theback of the mind. My spine is a track with cold black steel racing onit, a trail of steam and dust following behind, ghost like. It feelslike my whole life is holding its breath.By the time she leaves the room I am surprised that she can’t see thetrain. It has jumped the track of my spine and landed in my mothers’living room. A cold dark thing, black steel and redwood paneling. Itis the old type, from the western movies I loved as a kid.He throws open the doors to the outside world, to the dark ocean. Ifeel a breeze tugging at me, a slender finger of wind that catches atmy shirt. Pulling. Grabbing. I can feel the panic build in me, theneed to scream or cry rising in my throat.And then I am out the door, running, tumbling down the steps fallingout into the darkened world, falling out into the lifeless ocean. Outinto the blackness. Out among the stars and shadows.And underneath my skin, in the back of my head and down the back of myspine I can feel the desperation and I can feel the noise. I can feelthe deep and ancient ache of loudness that litters across my bones.It’s like an old lover, comfortable and well known, but unwelcome andinappropriate with her stories of our frolicking.And then she’s gone and the Conductor is closing the door. Thedarkness swells around us, enveloping us in a cocoon, pressing flatagainst the train like a storm. I wonder, what is this place?Those had been heady days, full and intense. It’s funny. I rememberthe problems, the confusions and the fears of life we all dealt with.But, that all seems to fade. It all seems to be replaced by images ofthe days when it was all just okay. We all had plans back then,patterns in which we expected the world to fit, how it was to bedeciphered.Eventually you just can’t carry yourself any longer, can’t keep youreyelids open, and can’t focus on anything but the flickering light ofthe stars. Hours pass, at first slowly like a river and then all in arush, a climax and I am home in the dorm, waking up to the ringing ofthe telephone.When she is gone the apartment is silent, empty, almost like a personsleeping, waiting to wake up. When she is gone, and I am alone, I curlup on the bed, wait for the house to eject me from its dying corpse.Crazy thoughts cross through my head, like slants of light in anattic.The Boston 395 rocks a bit, a creaking noise spilling in from theundercarriage. I have decided that whatever this place is, all thesenoises, sensations - all the train-ness of this place - is afabrication. It lulls you into a sense of security, allows you to feelas if it’s a familiar place. But whatever it is, it’s not a train, orat least not just a train.The air, heightened, tense against the glass. I can hear the squeak ofshoes on linoleum, I can hear the soft rattle of a dying man’sbreathing. Men in white uniforms, sharp pressed lines, run past,rolling gurneys down florescent hallways.
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