63
" The Art of Living is to be yourself. It is to be true to yourself.
The Art of Living is learning to live with love, awareness and truth.
Meditation is the way to learn The Art of Living.
Being is you. To discover your being is the beginning of life.
You can live in two ways:
1. Ego - effort and desire and 2.Being - no-effort, being in a let go with existence.
Religion is The Art of Living.
Five keys to The Art of Living:
1. Be life-affirmative. Life is synonymous with God.
Live with reverence, great respect and gratitude for life. Feel thankful and prayerful.
2. Make life an heartful, aesthetic experience.
Become more sensitive, sensuous and creative - and you will become more spiritual.
3.Experience life in all possible ways.
Experience all dualities and polarities of life: good/bad, bitter/sweet, summer/winter, happiness/sadness and life/death.
Do not be afraid of experience, because the more experiences you have, the more spiritually mature you become.
4. Live in the present.
Forget the past and the future - this moment is the only reality.
This moment has to become your whole love, life and death.
5.Live courageously.
Do not become too result-oriented, because result-oriented people miss life. Do not think of goals, because goals are in the future - and life is in the moment, in the here and now. "
― Swami Dhyan Giten
65
" Well, there is a piece of famous advice, grand advice even if it is German, to forget what you can't bear. The strong can forget, can shut out history.
Very good. Even if it is self-flattery to speak of strength--these aesthetic philosophers, they take a posture, but power sweeps postures away. Still, it's true you can't go on transposing one nightmare into another, Nietzsche was certainly right about that. The tender-minded must harden themselves. Is this world nothing but a barren lump of coke? No, no, but what sometimes seems a system of prevention, a denial of what every human being knows.
I love my children, but I am the world to them, and bring them nightmares.
I had this child by my enemy. And I love her. The sight of her, the odor of her hair, this minute, makes me tremble with love. Isn't it mysterious how I love the child of my enemy?
But a man doesn't need happiness for himself.
No, he can put up with any amount of torment--with recollections, with his own familiar evils, despair.
And this is the unwritten history of man, his unseen, negative accomplishment, his power to do without gratification for himself provided there is something great, something into which his being, and all beings can go. He does not need meaning as long as such intensity has scope. Because then it is self-evident; it is meaning. "
― Saul Bellow , Herzog
67
" Number 23 had plenty of redeeming qualities that made falling for him a justifiable accident. But our connection had nothing to do with our similarities, our differences, our aesthetic attractions, or our emotional and physical needs. When we spoke, he was truly with me. Our egos, our personas, expected social cues, the facades that everyone builds around them that are supposed to sculpt the way the world sees us, were stripped with Number 23 and I. He was immediately my best friend, familiar and safe - an epiphany that I had been spending my life alone in crowded rooms.
Our souls were naked. We initially curled into the warmth of that connection. But once we knew how real it was, we felt exposed, vulnerable, and raw. While his defense was his fearful recoil, mine was dictation. "
― Maggie Georgiana Young , Just Another Number
69
" If sex is not just about reproduction, it is not just about genes, XY chromosomes, and hormones either. Sex is introduced to explain skeletal structure, mental aptitude, posture, emotional disposition, aesthetic preference, body fat, sexual orientation and responsiveness, athletic ability, social dominance, shape and weight, artistic ability. It is also supposed to explain any number of so-called " instincts" , including the nesting instinct, the maternal instinct, and perhaps even the Budweiser instinct. "
74
" The unconscious is not a demoniacal monster, but a natural entity which, as far as moral sense, aesthetic taste, and intellectual judgement go, is completely neutral. It only becomes dangerous when our conscious attitude to it is hopelessly wrong. To the degree that we repress it, its danger increases. But the moment the patient begins to assimilate contents that were previously unconscious, its danger diminishes. The dissociation of personality, the anxious division of the day-time and the night-time sides of the psyche, cease with progressive assimilation. "
― C.G. Jung , The Essential Jung: Selected Writings
79
" The aesthetic construct, and nothing else, has taught us to expose ourselves to a non-enslaving experience of rank differences. The work of art is even allowed to 'tell' us, those who have run away from form, something, because it quite obviously does not embody the intention to confine us. 'La poesie ne s'impose plus, elle s'expose' Something that exposes itself and proves itself in this test gains unpresumed authority. In the space of aesthetic simulation, which is at once the emergency space for the success and failure of the artistic construct, the powerless superiority of the works can affect observers who otherwise take pains to ensure that they have no lord, old or new, above them. "
― Peter Sloterdijk , You Must Change Your Life
80
" The twin aspects of genius, the passive and the active, are possessed by the fully realized artist; they also form the necessary equipment of the Adept. Yet in very few people are these twin aspects manifested. Nearly everyone has a capacity for the passive aspect, which involves some sort of appreciation of aesthetic values. There are few people totally unresponsive to the beauties of nature, and none at all that is not responsive to its ferocious manifestations.Fewer are able to respond profoundly to the beauty of natural phenomena, and fewer still to so-called works of art. It takes a degree of genius to respond to such manifestations the whole time. Artists in this category are among the saints, some of whom thrilled with rapture at the constant awareness of the total unity, harmony, and beauty of things.
Such were Boehme, Ramakrishna, etc. Some yogis are immersed in an unsullied and vibrant bliss derived from the incessant contemplation of this 'world-bewitching maya'4-the breath-taking wonder of the great and glamorous illusion which surrounds us.
On the other side of the fence, on the side of active or creative genius, there are yet fewer. Active or creative genius means nothing less than the ability to translate the wonder or the terror of the great lfla (the great play of life) in terms of visual, tactile, audible, olfactory, or some other sensual presentation of phenomena.
But there is a third aspect of genius which is yet more rare. It is the ability to open the door of the theatre and admit the influences from outside, from the swarming gulfs beyond the grasp of the mind, and accessible only to the magical entity whose fantastic feelers can snare the most fugitive impulses as they flash through the holes in space, the kinks in time, to be reflected in the magic mirror of the artist's mind. "
― Kenneth Grant , Outside the Circles Of Time