The important thing is not the object of love, but the emotion itself.
Gore VidalRead
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673 quotes
The important thing is not the object of love, but the emotion itself.
Emotions get in the way but they don't pay me to start crying at the loss of 269 lives. They pay me to put some perspective on the situation.
Technically, I'm not a guitar player, all I play is truth and emotion.
Humanity today is like a waking dreamer, caught between the fantasies of sleep and the chaos of the real world. The mind seeks but cannot find the precise place and hour. We have created a Star Wars civilization, with Stone Age emotions, medieval institutions, and godlike technology. We thrash about. We are terribly confused by the mere fact of our existence, and a danger to ourselves and to the rest of life.
To be human and to be adult means constantly to be in the grip of opposing emotions, to have daily to reconcile apparently conflicting tensions. I want this, but need that. I cherish this, but I adore its opposite too.
I found the emotion that as an athlete you block out, and it really helped me to understand myself as a person. I'm a really emotional person and it helped make me a better person.
My research has shown me that when emotions are expressed-which is to say that the biochemicals that are the substrate of emotion are flowing freely-all systems are united and made whole. When emotions are repressed, denied, not allowed to be whatever they may be, our network pathways get blocked, stopping the flow of the vital feel-good, unifying chemicals that run both our biology and our behavior.
There are all sorts of losses people suffer - from the small to the large. You can lose your keys, your glasses, your virginity. You can lose your head, you can lose your heart, you can lose your mind. You can relinquish your home to move into assisted living, or have a child move overseas, or see a spouse vanish into dementia. Loss is more than just death, and grief is the gray shape-shifter of emotion.
Perhaps the best function of parenthood is to teach the young creature to love with safety, so that it may be able to venture unafraid when later emotion comes; the thwarting of the instinct to love is the root of all sorrow and not sex only but divinity itself is insulted when it is repressed. To disapprove, to condemn the human soul shrivels under barren righteousness.
If your everyday practice is open to all your emotions, to all the people you meet, to all the situations you encounter, without closing down, trusting that you can do that - then that will take you are far as you can go. And then you'll understand all the teachings that anyone has ever taught.
I am fascinated by language in daily life: the way it can evoke an emotion, a visual image, a complex idea, or a simple truth.
I adore art...when I am alone with my notes, my heart pounds and the tears stream from my eyes, and my emotion and my joys are too much to bear.
The drawings don't start with 'a beautiful mark'. It has to be a mark of something out there in the world. It doesn't have to be an accurate drawing, but it has to stand for an observation, not something that is abstract, like an emotion.
She loved the sea for its storms alone, cared for vegetation only when it grew here and there among ruins. She had to extract a kind of personal advantage from things and she rejected as useless everything that promised no immediate gratification — for her temperament was more sentimental than artistic, and what she was looking for was emotions, not scenery.
But I’ve been turning over in my mind the question of nostalgia, and whether I suffer from it. I certainly don’t get soggy at the memory of some childhood knickknack; nor do I want to deceive myself sentimentally about something that wasn’t even true at the time—love of the old school, and so on. But if nostalgia means the powerful recollection of strong emotions—and a regret that such feelings are no longer present in our lives—then I plead guilty.
Happiness was different in childhood. It was so much then a matter simply of accumulation, of taking things - new experiences, new emotions - and applying them like so many polished tiles to what would someday be the marvellously finished pavilion of the self.
The only way to stave off boredom, in a complex domesticated primate like humankind, is to increase one's intelligence. This is not appealing to the average primate, who instead invents emotional games (soap opera and grand opera dramatics).
I wanted to be a singer, of course, but there was something about the songwriting, then and now, that is the most important thing. It's how I express myself, how I express how I see things. When I see people struggling with emotions and feelings and don't know how to put it down, I'm able to do that. It's really like a therapy, and it's like a buddy and a friend. It's a way out of a lot of things.
All fiction, if it's successful, is going to appeal to the emotions. Emotion is really what fiction is all about. That's not to say fiction can't be thoughtful, or present some interesting or provocative ideas to make us think. But if you want to present an intellectual argument, nonfiction is a better tool. You can drive a nail with a shoe but a hammer is a better tool for that. But fiction is about emotional resonance, about making us feel things on a primal and visceral level.
Although we are all the same in not wanting problems and wanting a peaceful life, we tend to create a lot of problems for ourselves. Encountering those problems, anger develops and overwhelms our mind, which leads to violence. A good way to counter this and to work for a more peaceful world is to develop concern for others. Then our anger, jealousy and other destructive emotions will naturally weaken and diminish.
In contrast to a dream a reverie cannot be recounted. To be communicated, it must be written, written with emotion and taste, being relived all the more strongly because it is being written down. Here, we are touching the realm of written love. It is going out of fashion, but the benefits remain. There are still souls for whom love is the contact of two poetries, the fusion of two reveries.
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