To keep something, you must take care of it. More, you must understand just what sort of care it requires. You must know the rules and abide by them. She could do that. She had been doing it all the months, in the writing of her letters to him. There had been rules to be learned in that matter, and the first of them was the hardest: never say to him what you want him to say to you. Never tell him how sadly you miss him, how it grows no better, how each day without him is sharper than the day before. Set down for him the gay happenings about you, bright little anecdotes, not invented, necessarily, but attractively embellished. Do not bedevil him with the pinings of your faithful heart because he is your husband, your man, your love. For you are writing to none of these. You are writing to a soldier.

(Episode 9. Hijikata finds Gintoki on a rooftop and challenges him to a duel to avenge Kondo's defeat earlier. Gintoki doesn't want to fight him, so breaks Hijikata's sword easily, and leaves. It's then revealed that Okita and Kondo had been watching them clash, from another rooftop.)Okita Sougou: "He's an interesting man. I'd like to cross swords with him, myself."Kondo:"Don't bother. He'll kick your ass, Sougou.""He's the kind of guy fighting another battle far away, even as a sword swings at his throat.""Fair or unfair, it doesn't matter to him."(Not knowing that Kondo & Okita were watching his duel from a high vantage point, Hijikata lights a cigarette and sits back.)Hijikata (watching the blue sky above him):"Sorry, Kondo-san. I lost to him, as well ...

Anonymous > Quotes > Quotable Quote“I see life as a roadside inn where I have to stay until the coach from the abyss pulls up. I don’t know where it will take me, because I don’t know anything. I could see this inn as a prison, for I’m compelled to wait in it; I could see it as a social centre, for it’s here that I meet others. But I’m neither impatient nor common. I leave who will to stay shut up in their rooms, sprawled out on beds where they sleeplessly wait, and I leave who will to chat in the parlours, from where their songs and voices conveniently drift out here to me. I’m sitting at the door, feasting my eyes and ears on the colours and sounds of the landscape, and I softly sing – for myself alone – wispy songs I compose while waiting.

Credinţa zugrăveşte icoanele-n biserici -Şi-n sufletu-mi pusese poveştile-i feerici,Dar de-ale vieţii valuri, de al furtunii pasAbia conture triste şi umbre-au mai rămas.În van mai caut lumea-mi în obositul creier,Căci răguşit, tomnatec, vrăjeşte trist un greier;Pe inima-mi pustie zadarnic mâna-mi ţiu,Ea bate ca şi cariul încet într-un sicriu.Şi când gândesc la viaţa-mi, îmi pare că ea curăÎncet repovestită de o străină gură,Ca şi când n-ar fi viaţa-mi, ca şi când n-aş fi fost.Cine-i acel ce-mi spune povestea pe de rostDe-mi ţin la el urechea - şi râd de câte-ascultCa de dureri străine?... Parc-am murit de mult.

Ah God! to see the branches stirAcross the moon at Grantchester!To smell the thrilling-sweet and rottenUnforgettable, unforgottenRiver-smell, and hear the breeze Sobbing in the little trees.Say, do the elm-clumps greatly standStill guardians of that holy land?The chestnuts shade, in reverend dream,The yet unacademic streamIs dawn a secret shy and coldAnadyomene, silver-gold?And sunset still a golden seaFrom Haslingfield to Madingley?And after, ere the night is born,Do hares come out about the corn?Oh, is the water sweet and cool,Gentle and brown, above the pool?And laughs the immortal river stillUnder the mill, under the mill?Say, is there Beauty yet to find?And Certainty? and Quiet kind?Deep meadows yet, for to forgetThe lies, and truths, and pain?… oh! yetStands the Church clock at ten to three?And is there honey still for tea?

To muse for long unwearied hours with my attention riveted to some frivolous device upon the margin, or in the typography of a book — to become absorbed for the better part of a summer's day in a quaint shadow falling aslant upon the tapestry, or upon the floor — to lose myself for an entire night in watching the steady flame of a lamp, or the embers of a fire — to dream away whole days over the perfume of a flower — to repeat monotonously some common word, until the sound, by dint of frequent repetition, ceased to convey any idea whatever to the mind — to lose all sense of motion or physical existence in a state of absolute bodily quiescence long and obstinately persevered in — Such were a few of the most common and least pernicious vagaries induced by a condition of the mental faculties, not, indeed, altogether unparalleled, but certainly bidding defiance to any thing like analysis or explanation.

Lincoln's story confounds those who see depression as a collection of symptoms to be eliminated. But it resonates with those who see suffering as a potential catalyst of emotional growth. "What man actually needs," the psychiatrist Victor Frankl argued,"is not a tension-less state but rather the striving and struggling of a worthwhile goal." Many believe that psychological health comes with the relief of distress. But Frankl proposed that all people-- and particularly those under some emotional weight-- need a purpose that will both draw on their talents and transcend their lives. For Lincoln, this sense of purpose was indeed the key that unlocked the gates of a mental prison. This doesn't mean his suffering went away. In fact, as his life became richer and more satisfying, his melancholy exerted a stronger pull. He now responded to that pull by tying it to his newly defined sense of purpose. From a place of trouble, he looked for meaning. He looked at imperfection and sought redemption.

The eye turned to the fire gave back no light and he closed it with his thumb and sat by her and put his hand upon her bloodied forehead and closed his own eyes that he could see her running in the mountains, running in the starlight where the grass was wet and the sun's coming as yet had not undone the rich matrix of creatures passed in the night before her. Deer and hare and dove and groundvole all richly empaneled on the air for her delight, all nations of the possible world ordained by God of which she was one among and not separate from. Where she ran the cries of the coyotes clapped shut as if a door had closed upon them and all was fear and marvel. He took up her stiff head out of the leaves and held it or he reached to hold what cannot be held, what already ran among the mountains at once terrible and of great beauty, like flowers that feed on flesh. What blood and bone are made of but can themselves not make on any altar nor by any wound of war. What we may well believe has power to cut and shape and hollow out the dark form of the world surely if wind can, if rain can. But which cannot be held never be held and is no flower but is swift and a huntress and the wind itself is in terror of it and the world cannot lose it.

If you tell someone you have depression, they will often say, "Oh, I've been depressed before, too." The difference lies between being depressed and having depression. Everyone's been depressed at one time or another, but these are far from being the same things. One is a passing mood. The other is a chronic illness that does not come and go, ebb and flow, is here one day and gone the next.The difference between being depressed and having depression is that one is a mood and the other is an illness. One is a momentary bout of melancholy. The other is a debilitating condition that requires medical treatment. Would you feel better about having a cancerous lesion if I likened it to the rash I had last week?The difference between being depressed and having depression is the difference between a mood that will soon pass, and a serious illness that disrupts your ability to function and will take years to treat. The difference between being depressed and having depression is the difference between Cleveland and Bangkok, or your frying pan and the surface of the sun.So, no, we (depressives) do not feel better when you tell us about your rash. We'll do our best to be polite about it, but no, it really doesn't help at all.

Σίμωσε στο πιάνο και πήρε μερικά ακόρντα. Κείνη τη στιγμή΄έσπασε με κρότο μια χορδή κι έσβησε σ' ένα μακρόσυρτο και τρεμάμενο ήχο... -Ακούς Νιέτοτσκα, ακούς; ρώτησε, ξαφνικά με μια εμπνευσμένη φωνή, δείχνοντας το πιάνο. Τεντώσανε πολύ, πάρα πολύ τούτη τη χορδή· δεν μπόρεσε άλλο να βαστάξει και πέθανε. Ακούς, τι λυπητερά που πεθαίνουν οι ήχοι!

In the park which surrounded our house were the ruins of the former mansion of Brentwood, a much smaller and less important house than the solid Georgian edifice which we inhabited. The ruins were picturesque, however, and gave importance to the place. Even we, who were but temporary tenants, felt a vague pride in them, as if they somehow reflected a certain consequence upon ourselves. The old building had the remains of a tower, an indistinguishable mass of mason-work, overgrown with ivy, and the shells of walls attached to this were half filled up with soil. I had never examined it closely, I am ashamed to say. There was a large room, or what had been a large room, with the lower part of the windows still existing, on the principal floor, and underneath other windows, which were perfect, though half filled up with fallen soil, and waving with a wild growth of brambles and chance growths of all kinds. This was the oldest part of all. At a little distance were some very commonplace and disjointed fragments of the building, one of them suggesting a certain pathos by its very commonness and the complete wreck which it showed. This was the end of a low gable, a bit of grey wall, all encrusted with lichens, in which was a common doorway. Probably it had been a servants' entrance, a backdoor, or opening into what are called "the offices" in Scotland. No offices remained to be entered-pantry and kitchen had all been swept out of being; but there stood the doorway open and vacant, free to all the winds, to the rabbits, and every wild creature. It struck my eye, the first time I went to Brentwood, like a melancholy comment upon a life that was over. A door that led to nothing - closed once perhaps with anxious care, bolted and guarded, now void of any meaning. It impressed me, I remember, from the first; so perhaps it may be said that my mind was prepared to attach to it an importance, which nothing justified. ("The Open Door")