We fitted together like the two halves of an oyster-shell. I was Narcissus, embracing the pond in which I was about to drown. However much we had to hide our love, however guarded we had to be about our pleasure, I could not long be miserable about a thing so very sweet. Nor, in my gladness, could I quite believe that anybody would be anything but happy for me if only they knew.
At that time, he was satisfying a sensual curiosity by experiencing the pleasures of people who live for love. He had believed he could stop there, that he would not be obliged to learn their sorrows; how small a thing her charm was for him now compared with the astounding terror that extended out from it like a murky halo, the immense anguish of not knowing at every moment what she had been doing, of not possessing her everywhere and always!
English children have lost their innocence, for their first lessons have been in the exploitation of their adult slave. A sterilized parent is a eunuch in his children's haremm. to be sure, I recognize that efficient contraception is necessary for sexual pleasure, and that sexual pleasure is necessary, but contraception for economic reasons is another matter. 'We can only afford two children' is a squalid argument, but more acceptable in our society than 'we don't like children'. A sterilized parent is forever bound to those children he has, more than ever immobile and predictable, and those children are more securely bound to him. 'We can only afford two children' really means, 'We only like clean, well-discipline middle-class children who grow up to be professionals', for children manage to use up all the capital that is made available for that purpose, whatever proportion it may be of the family's whole income, just as housework expands to fill the time available. The sterilized parent is the ultimate domestic animal.
I cannot express it; but surely you and everybody have a notion that there is or should be an existence of yours beyond you. What were the use of my creation, if I were entirely contained here? My great miseries in this world have been Heathcliff's miseries, and I watched and felt each from the beginning: my great thought in living is himself. If all else perished, and he remained, I should still continue to be; and if all else remained, and he were annihilated, the universe would turn to a mighty stranger: I should not seem a part of it. My love for Linton is like the foliage in the woods: time will change it, I'm well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath: a source of little visible delight, but necessary. Nelly, I am Heathcliff! He's always, always in my mind: not as a pleasure, any more than I am always a pleasure to myself, but as my own being.
As a rule, we don't like to feel to sad or lonely or depressed. So why do we like music (or books or movies) that evoke in us those same negative emotions? Why do we choose to experience in art the very feelings we avoid in real life?Aristotle deals with a similar question in his analysis of tragedy. Tragedy, after all, is pretty gruesome. […] There's Sophocles's Oedipus, who blinds himself after learning that he has killed his father and slept with his mother. Why would anyone watch this stuff? Wouldn't it be sick to enjoy watching it? […] Tragedy's pleasure doesn't make us feel "good" in any straightforward sense. On the contrary, Aristotle says, the real goal of tragedy is to evoke pity and fear in the audience. Now, to speak of the pleasure of pity and fear is almost oxymoronic. But the point of bringing about these emotions is to achieve catharsis of them - a cleansing, a purification, a purging, or release. Catharsis is at the core of tragedy's appeal.
In fact, his travelogues spend amazingly little time discussing his blindness. Only one passage stands out for its frank discussion of his handicap and how it changed his worldview. In it, Holman was reminiscing about a few rendezvous from his past. Disarmingly, he admitted that he had no idea what his paramours looked like, or even whether they were homely. Moreover, he didn't care: by abandoning the standards of the sighted world, he argues, he could tap into a more divine and more authentic beauty. Hearing a woman's voice and feeling her caresses -- and then filling in what was missing with his own fancy -- gave him more pleasure than the mere sight of a women ever had, he said, a pleasure beyond reality. "Are there any who imagine," Holman asked, "that my loss of eyesight must necessarily deny me the enjoyment of such contemplation? How much more do I pity the mental darkness which could give rise to such an error.
What constitutes the pleasure of the traveler is the obstacle, the fatigue, the peril itself. What pleasure can there be in an excursion where one is always sure of arriving, finding ready horses, a soft bed, an excellent supper, and all the comforts one can enjoy at home. One of the great misfortunes of modern life is the lack of the sudden surprise, the absence of all adventures. Everything is so well regulated, so well meshed, so well labeled, that chance is no longer possible; another century of perfection, and each one will be able to foresee, from the day of his birth, what will happen to him until the day of his death. Human will will be completely annihilated. No more crimes, no more virtues, no more physiognomies, no more originality. It will become impossible to distinguish a Russian from a Spaniard, an Englishman from a Chinese, a Frenchman from an American. People will not even be able to recognize one another, for everyone will be same. Then an immense boredom will seize the universe, and suicide will decimate the population of the globe, for the principal spring of life—curiosity—will have been destroyed forever.
“I cannot express it; but surely you and everybody have a notion that there is or should be an existence of yours beyond you. What were the use of my creation, if I were entirely contained here? My great miseries in this world have been Heathcliff's miseries, and I watched and felt each from the beginning: my great thought in living is himself. If all else perished, and he remained, I should still continue to be; and if all else remained, and he were annihilated, the universe would turn to a mighty stranger: I should not seem a part of it. My love for Linton is like the foliage in the woods: time will change it, I'm well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath: a source of little visible delight, but necessary. Nelly, I am Heathcliff! He's always, always in my mind: not as a pleasure, any more than I am always a pleasure to myself, but as my own being.”
It was a pleasure to burn.It was a special pleasure to see things eaten, to see things blackened and changed. With the brass nozzle in his fists, with this great python spitting its venomous kerosene upon the world, the blood pounded in his head, and his hands were the hands of some amazing conductor playing all the symphonies of blazing and burning to bring down the tatters and charcoal ruins of history. With his symbolic helmet numbered 451 on his stolid head, and his eyes all orange flame with the thought of what came next, he flicked the igniter and the house jumped up in a gorging fire that burned the evening sky red and yellow and black. He strode in a swarm of fireflies. He wanted above all, like the old joke, to shove a marshmallow on a stick in the furnace, while the flapping pigeon-winged books died on the porch and lawn of the house. While the books went up in sparkling whirls and blew away on a wind turned dark with burning.
“Thank you, fans, very much. She would say that in a British accent. ... She's a fantastic director, one of the greatest that I've ever had the pleasure to work with. She's in London editing another video for me for a song called 'Stealing Kisses.' It's amazing. It was an honor to work with her, and I know she would ... thank the fans and she would thank hair and makeup. There was a lot of hair. There was a lot of makeup. It was just very exciting to do it.”