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1 " The satyr, as the Dionysiac chorist, dwells in a reality sanctioned by myth and ritual. That tragedy should begin with him, that the Dionysiac wisdom of tragedy should speak through him, is as puzzling a phenomenon as, more generally, the origin of tragedy from the chorus. Perhaps we can gain a starting point for this inquiry by claiming that the satyr, that fictive nature sprite, stands to cultured man in the same relation as Dionysian music does to civilization. Richard Wagner has said of the latter that it is absorbed by music as lamplight by daylight. In the same manner, I believe, the cultured Greek felt himself absorbed into the satyr chorus, and in the next development of Greek tragedy state and society, in fact everything that separates man from man, gave way before an overwhelming sense of unity that led back into the heart of nature. This metaphysical solace (which, I wish to say at once, all true tragedy sends us away) that, despite every phenomenal change, life is at bottom indestructibly joyful and powerful, was expressed most concretely in the chorus of satyrs, nature beings who dwell behind all civilization and preserve their identity through every change of generations and historical movement.With this chorus the profound Greek, so uniquely susceptible to the subtlest and deepest suffering, who had penetrated the destructive agencies of both nature and history, solaced himself. Though he had been in danger of craving a Buddhistic denial of the will, he was saved through art, and through art life reclaimed him. "
― Friedrich Nietzsche , The Birth of Tragedy
2 " To clarify the existentiality of the Self, we take as our ‘natural’ point of departure Dasein’s everyday interpretation of the Self. In *saying* “*I*,” Dasein expresses itself about ‘itself’. It is not necessary that in doing so Dasein should make any utterance. With the ‘I’, this entity has itself in view. The content of this expression is regarded as something utterly simple. In each case, it just stands for me and nothing further. Also, this ‘I’, as something simple, is not an attribute of other Things; it is not *itself* a predicate, but the absolute ‘subject’. What is expressed and what is addressed in saying “I,” is always met as the same persisting something. The characteristics of ‘simplicity’, ‘substantiality’, and ‘personality’, which Kant, for instance, made the basis for his doctrine ‘of the paralogisms of pure reason’, arise from a genuine pre-phenomenological experience. The question remains whether that which we have experienced ontically in this way may be Interpreted ontologically with the help of the ‘categories’ mentioned.Kant, indeed, in strict conformity with the phenomenal content given in saying “I,” shows that the ontical theses about the soul-substance which have been inferred [*erschlossenen*] from these characteristics, are without justification. But in so doing, he merely rejects a wrong *ontical* explanation of the “I”; he has by no means achieved an *ontological* Interpretation of Selfhood, nor has he even obtained some assurance of it and made positive preparation for it. Kant makes a more rigorous attempt than his predecessors to keep hold of the phenomenal content of saying “I”; yet even though in theory he has denied that the ontical foundations of the ontology of the substantial apply to the “I,” he still slips back into *this same* inappropriate ontology. This will be shown more exactly, in order that we may establish what it means ontologically to take saying “I” as the starting point for the analysis of Selfhood. The Kantian analysis of the ‘I think’ is now to be added as an illustration, but only so far as is demanded for clarifying these problems." ―from_Being and Time_. Translated by John Macquarrie & Edward Robinson, p. 366 "
3 " The ‘I’ is a bare consciousness, accompanying all concepts. In the ‘I’, ‘nothing more is represented than a transcendental subject of thoughts’. ‘Consciousness in itself (is) not so much a representation…as it is a form of representation in general.’ The ‘I think’ is ‘the form of apperception, which clings to every experience and precedes it.’Kant grasps the phenomenal content of the ‘I’ correctly in the expression ‘I think’, or—if one also pays heed to including the ‘practical person’ when one speaks of ‘intelligence’—in the expression ‘I take action’. In Kant’s sense we must take saying “I” as saying “I think.” Kant tries to establish the phenomenal content of the “I” as *res cogitans*. If in doing so he calls this “I” a ‘logical subject’, that does not mean that the “I” in general is a concept obtained merely by way of logic. The “I” is rather the subject of logical behavior, of binding together. ‘I think’ means ‘I bind together’. All binding together is an ‘*I* bind together’. In any taking-together or relating, the “I” always underlies—the ὑποκείμενον [hypokeimenon; subjectum; subject]. The *subjectum* is therefore ‘consciousness in itself’, not a representation but rather the ‘form’ of representation. That is to say, the “I think” is not something represented, but the formal structure of representing as such, and this formal structure alone makes it possible for anything to have been represented. When we speak of the “form” of representation, we have in view neither a framework nor a universal concept, but that which, as εἶδος [eidos], makes every representing and everything represented be what it is. If the “I” is understood as the form of representation, this amounts to saying that it is the ‘logical subject’.Kant’s analysis has two positive aspects. For one thing, he sees the impossibility of ontically reducing the “I” to a substance; for another thing, he holds fast to the “I” as ‘I think’. Nevertheless, he takes this “I” as subject again, and he does so in a sense which is ontologically inappropriate. For the ontological concept of the subject *characterizes not the Selfhood of the “I” qua Self, but the self-sameness and steadiness of something that is always present-at-hand*. To define the “I” ontologically as “*subject*” means to regard it as something always present-at-hand. The Being of the “I” is understood as the Reality of the *res cogitans*." ―from_Being and Time_. Translated by John Macquarrie & Edward Robinson, pp. 366-367 "
4 " But how does it come about that while the ‘I think’ gives Kant a genuine phenomenal starting-point, he cannot exploit it ontologically, and has to fall back on the ‘subject’—that is to say, something *substantial*? The “I” is not just an ‘I think’, but an ‘I think something’. And does not Kant himself keep on stressing that the “I” remains related to its representations, and would be nothing without them?For Kant, however, these representations are the ‘empirical’, which is ‘accompanied’ by the “I”—the appearances to which the “I” ‘clings’. Kant nowhere shows the kind of Being of this ‘clinging’ and ‘accompanying’. At bottom, however, their kind of Being is understood as the constant Being-present-at-hand of the “I” along with its representations. Kant has indeed avoided cutting the “I” adrift from thinking; but he has done so without starting with the ‘I think’ itself in its full essential content as an ‘I think something’, and above all, without seeing what is ontologically ‘presupposed’ in taking the ‘I think something’ as a basic characteristic of the Self. For even the ‘I think something’ is not definite enough ontologically as a starting-point, because the ‘something’ remains indefinite. If by this “something” we understand an entity *within-the-world*, then it tacitly implies that the *world* has been presupposed; and this very phenomenon of the world co-determines the state of Being of the “I,” if indeed it is to be possible for the “I” to be something like an ‘I think something’. In saying “I,” I have in view the entity which in each case I am as an ‘I-am-in-a-world’. Kant did not see the phenomenon of the world, and was consistent enough to keep the ‘representations’ apart from the *a priori* content of the ‘I think’. But as a consequence the “I” was again forced back to an *isolated* subject, accompanying representations in a way which is ontologically quite indefinite.*In saying “I,” Dasein expresses itself as Being-in-the-world*. But does saying “I” in the everyday manner have *itself* in view *as* being-in-the-world [*in-der-Welt-seiend*]? Here we must make a distinction. When saying “I,” Dasein surely has in view the entity which, in every case, it is itself. The everyday interpretation of the Self, however, has a tendency to understand itself in terms of the ‘world’ with which it is concerned. When Dasein has itself in view ontically, it *fails to see* itself in relation to the kind of Being of that entity which it is itself. And this holds especially for the basic state of Dasein, Being-in-the-world." ―from_Being and Time_. Translated by John Macquarrie & Edward Robinson, pp. 367-370 "
5 " What is the motive for this ‘fugitive’ way of saying “I”? It is motivated by Dasein’s falling; for as falling, it *flees* in the face of itself into the “they.” When the “I” talks in the ‘natural’ manner, this is performed by the they-self. What expresses itself in the ‘I’ is that Self which, proximally and for the most part, I am *not* authentically. When one is absorbed in the everyday multiplicity and the rapid succession [*Sich-jagen] of that with which one is concerned, the Self of the self-forgetful “I am concerned” shows itself as something simple which is constantly selfsame but indefinite and empty. Yet one *is* that with which one concerns oneself. In the ‘natural’ ontical way in which the “I” talks, the phenomenal content of the Dasein which one has in view in the " I" gets overlooked; but this gives *no justification for our joining in this overlooking of it*, or for forcing upon the problematic of the Self an inappropriate ‘categorial’ horizon when we Interpret the “I” ontologically.Of course by thus refusing to follow the everyday way in which the “I” talks, our ontological Interpretation of the ‘I’ has by no means *solved* the problem; but it has indeed *prescribed the direction* for any further inquiries. In the “I,” we have in view that entity which one is in ‘being-in-the-world’.Being-already-in-a-world, however, as Being-alongside-the-ready-to-hand-within-the-world, means equiprimordially that one is ahead of oneself. With the ‘I’, what we have in view is that entity for which the *issue* is the Being of the entity that it is. With the ‘I’, care expresses itself, though proximally and for the most part in the ‘fugitive’ way in which the “I” talks when it concerns itself with something. The they-self keeps on saying “I” most loudly and most frequently because at bottom it *is not authentically* itself, and evades its authentic potentiality-for-Being. If the ontological constitution of the Self is not to be traced back either to an “I”-substance or to a ‘subject’, but if, on the contrary, the everyday fugitive way in which we keep on saying “I” must be understood in terms of our *authentic* potentiality-for-Being, then the proposition that the Self is the basis of care and constantly present-at-hand, is one that still does not follow. Selfhood is to be discerned existentially only in one’s authentic potentiality-for-Being-one’s-Self—that is to say, in the authenticity of Dasein’s Being *as care*. In terms of care the *constancy of the Self*, as the supposed persistence of the *subjectum*, gets clarified. But the phenomenon of this authentic potentiality-for-Being also opens our eyes for the *constancy of the Self*, in the double sense of steadiness and steadfastness, is the *authentic* counter-possibility to the non-Self-constancy which is characteristic of irresolute falling. Existentially, “*Self-constancy*” signifies nothing other than anticipatory resoluteness. The ontological structure of such resoluteness reveals the existentiality of the Self’s Selfhood." ―from_Being and Time_. Translated by John Macquarrie & Edward Robinson, pp. 368-369 "
6 " Dasein *is authentically itself* in the primordial individualization of the reticent resoluteness which exacts anxiety of itself. *As something that keeps *silent*, authentic *Being*-one’s-Self is just the sort of thing that does not keep on saying ‘I’; but in its reticence it ‘*is*’ that thrown entity as which it can authentically be. The Self which the reticence of resolute existence unveils is the primordial phenomenal basis for the question as to the Being of the ‘I’. Only if we are oriented phenomenally by the meaning of the Being of the authentic potentiality-for-Being-one’s-Self are we put in a position to discuss what ontological justification there is for treating substantiality, simplicity, and personality as characteristics of Selfhood. In the prevalent way of saying “I,” it is constantly suggested that what we have in advance is a Self-Thing, persistently present-at-hand; the ontological question of the Being of the Self must turn away from any such suggestion.*Care does not need to be founded in a Self. But existentiality, as constitutive for care, provides the ontological constitution of Dasein’s Self-constancy, to which there belongs, in accordance with the full structural content of care, its Being-fallen factically into non-Self-constancy*. When fully conceived, the care-structure includes the phenomenon of Selfhood. This phenomenon is clarified by Interpreting the meaning of care; and it is as care that Dasein’s totality of Being has been defined.”―from_Being and Time_. Translated by John Macquarrie & Edward Robinson, pp. 369-370 "
― Martin Heidegger
7 " A doctor, a logician and a marine biologist had also just arrived, flown in at phenomenal expense from Maximegalon to try to reason with the lead singer who had locked himself in the bathroom with a bottle of pills and was refusing to come out till it could be proved conclusively to him that he wasn't a fish. The bass player was busy machine-gunning his bedroom and the drummer was nowhere on board.Frantic inquiries led to the discovery that he was standing on a beach on Santraginus V over a hundred light years away where, he claimed, he had been happy for over half an hour now and had found a small stone that would be his friend. "
― Douglas Adams , The Restaurant at the End of the Universe (Hitchhiker's Guide to the Galaxy, #2)
8 " Some of my Black sistas don’t know any better, so I’d like to give them some enlightening food-for-thought. Many of them are in awe when it comes to Michelle Obama. They admire and celebrate her intelligence and beauty. For many Black women, she’s a positive and powerful role model. Our former First Lady is phenomenal to say the least! She’s a lawyer, writer, and she fearlessly wears many other hats with integrity and grace. But, here’s what I’d like to point out: If you can admire and celebrate her, why can’t you do the same for YOUR family and friends? Why is it that when people that you personally know obtain degrees, start a successful business, buy a home, are financially secure, happily married, etc… Here you go hatin’ on them. Why can’t you genuinely be happy for them and share in their greatness? I encourage you to celebrate the Black women around you, too! "
― Stephanie Lahart
9 " Dancing with a spinal cord injury is a challenge like no other, but I aspired to prove to myself that I could still be phenomenal dancer even with an SCI "
― Jennifer Starzec , 5k, Ballet, and a Spinal Cord Injury (5k, Ballet, #1)
10 " Practical affairs task the human brain throughout the day. At night, the mind takes a deserved hiatus to consider the impossible and the absurd. In the carnage of our nighttime sleep tussles, the colored liqueurs of the true, the possible, fantasy, and the mythic beliefs become intermixed. Eyelets of the commonsensical and the imaginative are incorporated, and a new realism emerges out of our distilled perception of the veridical derived from the phenomenal realm of sensory reality and the philosophic world of ideals contained in the noumenal realm. The resultant psychobiologic vision immerses us in bouts of intoxicating inspiration and artistic stimulation and leaves us rickety boned and weakened after enduring a dreaded hangover of perpetual doubt laced with vagueness and insecurity. "
― , Dead Toad Scrolls
11 " A Pheonomenal woman is driven by her divine given POWER: The acronym Power defines her qualities:Poised for successOpportunities are endlessWorks hard to achieve her goalsEnduring strength and vitalityReaps the rewards of her hard workA Phenomenal woman will get out of bed, when the whole world around her is falling apart. "
― Delma Pryce , ABOVE AND BEYOND: My Spiritual Journey
12 " ...The efficacy of psychedelics with regard to art has to do with their ability to render language weightless, as fluid and ephemeral as those famous " bubble letters" of the sixties. Psychedelics, I think, disconnect both the signifier and the signified from their purported referents in the phenomenal world - simultaneously bestowing upon us a visceral insight into the cultural mechanics of language, and a terrifying inference of the tumultuous nature that swirls beyond it. In my own experience, it always seemed as if language were a tablecloth positioned neatly upon the table until some celestial busboy suddenly shook it out, fluttering and floating it, and letting it fall back upon the world in not quite the same position as before - thereby giving me a vertiginous glimpse into the abyss that divides the world from our knowing of it. And it is into this abyss that the horror vacui of psychedelic art deploys itself like an incandescent bridge. Because it is one thing to believe, on theoretical evidence, that we live in a prison-house of language. It is quite another to know it, to actually peek into the slippery emptiness as the Bastille explodes around you. Yet psychedelic art takes this apparent occasion for despair and celebrates our escape from linguistic control by flowing out, filling that rippling void with meaningful light, laughter, and a gorgeous profusion. "
13 " Dr. Morris soon recognized that the difference between successful and unsuccessful marriages can often be traced to how well couples are able to " bond" during the courtship period. By bonding he referred to the process by which a man and woman become cemented together emotionally. It describes the chemistry that permits two previous strangers to become intensely valuable to one another. It helps them weather the storms of life and remain committed in sickness and health, for richer or poorer, for better or worse, forsaking all others until they are parted in death. It is a phenomenal experience that almost defies description. "
14 " If you are all set for an enjoyable weekend then simply head towards the magnificent Her Majesty’s Theatre! The popular London Westend theatre is running the award winning London show, The Phantom of the Opera with packed houses. The show has already made its remarkable entry into its third decade. The blockbuster London show by Andrew Lloyd Webber is a complete treat for music lovers. The popular show has won several prestigious awards. The show is set against the backdrop of gothic Paris Opera House. The show revolves around soprano Christine Daae who is enticed by the voice of Phantom. The show features some of the heart touching and spell binding musical numbers such as 'The Music of the Night', 'All I Ask of You' and the infamous title track, The Phantom of the Opera. The Phantom of the Opera is a complete audio visual treat for theatre lovers. In the year 1986, the original production made its debut at the Her Majesty's Theatre featuring Michael Crawford and Sarah Brightman. Sarah was then wife of composer Andrew Lloyd Webber. The popular London musical, The Phantom of the Opera went on becoming a popular show and still London's hottest ticket. The award winning show is a brilliant amalgamation of outstanding design, special effects and memorable score. The show has earned critical acclamation from both the critics and audiences. The show has been transferred to Broadway and is currently the longest running musical. The show is running at the Majestic Theatre and enjoyed brilliant performance across the globe. For Instance, the Las Vegas production was designed specifically with a real lake. In order to celebrate its silver jubilee, there was a glorious concert production at the Royal Albert Hall. The phenomenal production featured Ramin Karimloo and Sierra Boggess as Phantom and Christine. If you are looking for some heart touching love musical the Phantom of the Opera is a must watch. With its wonderfully designed sets, costumes and special effects, the show is a must watch for theatre lovers. The show is recommended for 10+ kids and run for two hours and thirty minutes. "
15 " Prayer is a phenomenal tool for power, prudence and prosperity. "
― Gift Gugu Mona
16 " DestinyThe chicken I bought last night,Frozen,Returned to life,Laid the biggest egg in the world,And was awarded the Nobel Prize.The phenomenal eggWas passed from hand to hand,In a few weeks had gone all round the earth,And round the sunIn 365 days.The hen received who knows how much hard currency,Assessed in buckets of grainWhich she couldn’t manage to eatBecause she was invited everywhere,Gave lectures, granted interviews,Was photographed.Very often reporters insistedThat I too should poseBeside her.And so, having served artThroughout my life,All of a sudden I’ve attained to fameAs a poultry breeder. "
― Marin Sorescu
17 " A lesson in bringing about true changes of mind and heart comes from a Japanese functionary. By day, he crunched numbers that showed his country was approaching imminent energy crisis and helped to craft policy. By night, he weaved a novel in which a bureaucrat-hero helps see the country through to new energy sources. When the crisis came faster than he expected, he actually put the novel away because he did not want to make the burden of his countrymen worse. When the short-term crisis passed, he published his novel. It's phenomenal and well-timed success fueled the vision that inspired difficult change and maintained a sense of urgency. "
― Daniel Yergin , The Quest: Energy, Security, and the Remaking of the Modern World
18 " In one of the Upanishads it says, when the glow of a sunset holds you and you say 'Aha,' that is the recognition of the divinity. And when you say 'Aha' to an art object, that is a recognition of divinity. And what divinity is it? It is your divinity, which is the only divinity there is. We are all phenomenal manifestations of a divine will to live, and that will and the consciousness of life is one in all of us, and that is what artwork expresses. "
― Joseph Campbell , The Mythic Dimension: Selected Essays 1959-87 (Collected Works)
19 " And there was never a better time to delve for pleasure in language than the sixteenth century, when novelty blew through English like a spring breeze. Some twelve thousand words, a phenomenal number, entered the language between 1500 and 1650, about half of them still in use today, and old words were employed in ways not tried before. Nouns became verbs and adverbs; adverbs became adjectives. Expressions that could not have grammatically existed before - such as 'breathing one's last' and 'backing a horse', both coined by Shakespeare - were suddenly popping up everywhere. "
― Bill Bryson , Shakespeare: The World as Stage
20 " Never shy away from opportunity and wholehearted living. Never be fearful of putting yourself out there. The courageous may encounter many disappointments, experience profound disillusionment, gather many wounds; but cherish your scars for they are the proud emblems of a truly phenomenal life. The fearful, cautious, cynical and self-repressed do not live at all. And that is simply no way to be in this world. "
― Anthon St. Maarten
