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Read through the most famous quotes by topic #practic
We have to make a consideration: emotional states are deeply influenced by external events, and here lies the problem. Since the external events are unstable, namely, that they are in perpetual change - a situation that Buddhist tradition defines as “impermanence” - they are very difficult to be managed, and this bring people to panic. This difficulty to experience a reality in which nothing is permanent, that all is in constant motion- change, belongs to the human incapacity to accept the discontinuity of an occurrence of events that are always unpredictable and new. Impermanence is a principle that is a natural thing, but, in relation to the social and interhuman fields, this becomes a problem: especially in the last ten years, we can witness scenarios where instability, turbulence and uncertainty, frantically increase and continue to increase. Instability and change are perceivable everywhere - from the personal interaction between people to economic instability: in poor words, we don’t know what the future will bring to us and we feel a continuous pressure. People feel a need for safety and stability, but this is an impossible thing in the conditions in which society finds itself, and here lies one of the main reasons why tensions, anxiety, and panic have became common situations. ↗
#gurdjieff #mindfulness-practice #present-moment #zen #change
As for Iago’s jealousy, one cannot believe that a seriously jealous man could behave towards his wife as Iago behaves towards Emilia, for the wife of a jealous husband is the first person to suffer. Not only is the relation of Iago and Emilia, as we see it on stage, without emotional tension, but also Emilia openly refers to a rumor of her infidelity as something already disposed of. Some such squire it was That turned your wit, the seamy side without And made you to suspect me with the Moor. At one point Iago states that, in order to revenge himself on Othello, he will not rest till he is even with him, wife for wife, but, in the play, no attempt at Desdemona’s seduction is made. Iago does not encourage Cassio to make one, and he even prevents Roderigo from getting anywhere near her. Finally, one who seriously desires personal revenge desires to reveal himself. The revenger’s greatest satisfaction is to be able to tell his victim to his face – "You thought you were all-powerful and untouchable and could injure me with impunity. Now you see that you were wrong. Perhaps you have forgotten what you did; let me have the pleasure of reminding you." When at the end of the play, Othello asks Iago in bewilderment why he has thus ensnared his soul and body, if his real motive were revenge for having been cuckolded or unjustly denied promotion, he could have said so, instead of refusing to explain. ↗
All practical jokes, friendly, harmless or malevolent, involve deception, but not all deceptions are practical jokes. The two men digging up the street, for example, might have been two burglars who wished to recover some swag which they knew to be buried there. But, in that case, having found what they were looking for, they would have departed quietly and never been heard of again, whereas, if they are practical jokers, they must reveal afterwards what they have done or the joke will be lost. The practical joker must not only deceive but also, when he has succeeded, unmask and reveal the truth to his victims. The satisfaction of the practical joker is the look of astonishment on the faces of others when they learn that all the time they were convinced that they were thinking and acting on their own initiative, they were actually the puppets of another’s will. Thus, though his jokes may be harmless in themselves and extremely funny, there is something slightly sinister about every practical joker, for they betray him as someone who likes to play God behind the scenes. […] The success of a practical joker depends upon his accurate estimate of the weaknesses of others, their ignorances, their social reflexes, their unquestioned presuppositions, their obsessive desires, and even the most harmless practical joke is an expression of the joker’s contempt for those he deceives. ↗
#men
The practical joker despises his victims, but at the same time he envies them because their desires, however childish and mistaken, are real to them, whereas he has no desire which he can call his own. His goal, to make game of others, makes his existence absolutely dependent upon theirs; when he is alone, he is a nullity. Iago’s self-description, I am not what I am, is correct and the negation of the Divine I am that I am. If the word motive is given its normal meaning of a positive purpose of the self like sex, money, glory, etc., then the practical joker is without motive. Yet the professional practical joker is certainly driven, like a gambler, to his activity, but the drive is negative, a fear of lacking concrete self, of being nobody. ↗
Practice giving things away, not just things you don't care about, but things you do like. Remember, it is not the size of a gift, it is its quality and the amount of mental attachment you overcome that count. So don't bankrupt yourself on a momentary positive impulse, only to regret it later. Give thought to giving. Give small things, carefully, and observe the mental processes going along with the act of releasing the little thing you liked. (53) (Quote is actually Robert A F Thurman but Huston Smith, who only wrote the introduction to my edition, seems to be given full credit for this text.) ↗
