3
" What causes love, since it is a passion, is its object; and since it is a sort of affinity or agreement with the object, what causes love is the goodness or agreeableness of that object. Evil can only be loved because it seems good, because being partially good it is perceived as wholly so. And the beautiful is a form of the good: if something is agreeable in general we call it good, and if the perception of it is agreeable we call it beautiful. But goodness must be known before it can become the object of love, so knowledge itself can be said to cause love. Knowing is an activity of reason, which abstracts from things and then makes connections between them, needing to know each part and property and power of things if it is to know them perfectly. But loving is an appetite for things as they stand, and to love perfectly we need only love them as they are perceived to exist in themselves. "
― Thomas Aquinas , Summa Theologica
4
" The emotion of love is an affective emotion, directly reacting to goodness, rather than an aggressive one, reacting to challenge. Not only our so-called natural ability to grow and propagate exemplify natural love, but every faculty has a built-in affinity for what accords with its nature. By passion we mean some result of being acted on: either a form induced by the agent (like weight) or a movement consequent on the form (like falling to the ground). Whatever we desire acts on us in this way, first arousing an emotional attachment to itself and making itself agreeable, and then drawing us to seek it. The first change the object produces in our appetite is a feeling of its agreeableness: we call this love (weight can be thought of as a sort of natural love); then desire moves us to seek the object and pleasure comes to rest in it. Clearly then, as a change induced in us by an agent, love is a passion: the affective emotion strictly so, the will to love by stretching of the term. Love unites by making what is loved as agreeable to the lover as if it were himself or a part of himself. Though love is not itself a movement of the appetite towards an object, it is a change the appetite undergoes rendering an object agreeable. Favour is a freely chosen and willing love, open only to reasoning creatures; and charity―literally, holding dear―is a perfect form of love in which what is loved is highly prized. To love, as Aristotle says, is to want someone’s good; so its object is twofold: the good we want, loved with a love of desire, and the someone we want it for (ourselves or someone else), loved with a love of friendship. And just as what exist in the primary sense are subjects of existence, and properties exist only in a secondary sense, as modes in which subjects exist; so too what we love in the primary sense is the someone whose good we will, and only in a secondary sense do we love the good so willed. Friendship based on convenience or pleasure is friendship inasmuch as we want our friend’s good; but because this is subordinated to our own profit or pleasure such friendship is subordinated to love of desire and falls short of true friendship. "
― Thomas Aquinas , Summa Theologica
5
" Were we to confront our creaturehood squarely, how would we propose to educate? The answer, I think is implied in the root of the word education, educe, which means " to draw out." What needs to be drawn out is our affinity for life. That affinity needs opportunities to grow and flourish, it needs to be validated, it needs to be instructed and disciplined, and it needs to be harnessed to the goal of building humane and sustainable societies. Education that builds on our affinity for life would lead to a kind of awakening of possibilities and potentials that lie dormant and unused in the industrial-utilitarian mind. Therefore the task of education, as Dave Forman stated, is to help us 'open our souls to love this glorious, luxuriant, animated, planet.' The good news is that our own nature will help us in the process if we let it. "
9
" As many thoughts in succession substantiate themselves, we shall by and by stand in a new world of our own creation, and no longer strangers and pilgrims in a traditionary globe. My friends have come to me unsought.... Will these, too, seperate themselves from me again, or some of them? I know not, but I fear it not; for my relation to them is so pure, that we hold by simple affinity, and the Genius of my life being thus social, the same affinity will exert its energy on whomsoever is as noble as these men and women, wherever I may be. "
― Ralph Waldo Emerson
13
" She loved old things. The brown-brick place was a survivor of the 1907 earthquake and fire, and proudly bore a plaque from the historical society. The building had a haunted history- it was the site of a crime of passion- but Tess didn't mind. She'd never been superstitious.The apartment was filled with items she'd collected through the years, simply because she liked them or was intrigued by them. There was a balance between heirloom and kitsch. The common thread seemed to be that each object had a story, like a pottery jug with a bas-relief love story told in pictures, in which she'd found a note reading, " Long may we run. -Gilbert." Or the antique clock on the living room wall, each of its carved figures modeled after one of the clockmaker's twelve children. She favored the unusual, so long as it appeared to have been treasured by someone, once upon a time. Her mail spilled from an antique box containing a pigeon-racing counter with a brass plate engraved from a father to a son. She hung her huge handbag on a wrought iron finial from a town library that had burned and been rebuilt in a matter of weeks by an entire community.Other people's treasures captivated her. They always had, steeped in hidden history, bearing the nicks and gouges and fingerprints of previous owners. She'd probably developed the affinity from spending so much of her childhood in her grandmother's antique shop. "
15
" What is fantasy? On one level, of course, it is a game: a pure pretense with no ulterior motive whatever. It is one child saying to another child, “Let’s be dragons,” and then they’re dragons for an hour or two. It is escapism of the most admirable kind—the game played for the game’s sake.
On another level, it is still a game, but a game played for very high stakes. Seen thus, as art, not spontaneous play, its affinity is not with daydream, but with dream. It is a different approach to reality, an alternative technique for apprehending and coping with existence. It is not antirational but pararational; not realistic, but surrealistic, superrealistic, a heightening of reality. In Freud’s terminology, it employs primary, not secondary process thinking. It employs archetypes, which, Jung warned us, are dangerous things. Dragons are more dangerous, and a good deal commoner, than bears. Fantasy is nearer to poetry, to mysticism, and to insanity than naturalistic fiction is. It is a real wilderness, and those who go there should not feel too safe. And their guides, the writers of fantasy, should take their responsibilities seriously. "
― Ursula K. Le Guin
18
" Soeur Marie Emelie" Soeur Marie Emelieis little and very old:her eyes are onyx,and her cheeks vermilion,her apron wide and kindand cobalt blue.She comfortsgenerations and generationsof children,who are " new" at the convent school.When they are eight,they are already up to her shoulder,they grow up and go into the world,she remains,forever,always incredibly old,but incredibly never older...She has an affinity with the hens,When a hen dies,she sits down on a bench and cries,she is the only grown-up, whose tears are not frightening tears.Children can weep without shame, at her side...Soeur Marie Emelie...her apron as wide and kindas skies on a summer dayand as clean and blue. "