William James Quotes

You can die from someone else's misery — emotional states are as infectious as diseases. You may feel you are helping the drowning man but you are precipitating your own disaster. The unfortunate sometimes draw misfortune on themselves; they will also draw it on you. Associate with the happy and fortunate instead.

The gist of the matter is this: Every impression that comes in from without, be it a sentence which we hear, an object of vision, or an effluvium which assails our nose, no sooner enters our consciousness than it is drafted off in some determinate direction or other, making connection with the other materials already there, and finally producing what we call our reaction. The particular connections it strikes into are determined by our past experiences and the 'associations' of the present sort of impression with them.

I am an emotional plagiarist, stealing other people's pain, subsuming it into my own until I can't remember whose it is any more.

I'm being provided with some emotional ballast by giving me an intimate portrait of one character in particular in contrast to the collective. I'm fortunate that I had very sympathetic readers, but ordinarily - if a book makes you laugh too much, it shifts from "literature" to "entertainment."

Not philosophy, after all, not humanity, just sheer joyous power of song, is the primal thing in poetry.

The world around us is alive, he would have said, with our emotions and thoughts, and the space between any two people are charged with them all. He had learned early in his life that before any violent gesture there is a moment when the act is born, not as something that can be seen or felt, but by the change it precipitates in the air.

It was like discovering that your innermost fires and terrors, the things you believed no one else could fathom, were in fact the basis of a recognized philosophy. Some part of you felt intimately invaded, threatened; some other part fell to its knees and sobbed in gratitude that it was no longer alone.

Teachers are the agents through which knowledge and skills are communicated and rules of conduct enforced.

I'VE NOTICED, FROM MY EXPERIENCE, IF THE EXTERNAL, EMOTIONAL CONSTRUCTION OF IMAGES IN A FILM ARE BASED ON THE FILMMAKER'S OWN MEMORY, ON THE KINSHIP OF ONE'S PERSONAL EXPERIENCE WITH THE FABRIC OF THE FILM, THEN THE FILM WILL HAVE THE POWER TO AFFECT THOSE WHO SEE IT.

Names generate meaning in a short amount of space — they provoke thoughts, questions. That's something I like doing. Of course, you have to be careful. Sometimes it can alienate the reader, it can be another level of mediation, to make a character carry the great burden of a metaphoric name. The character can be a device before he or she becomes a person, and that can be a bad thing for a writer who wants to offer up a kind of emotional proximity in the work. It's a constant struggle, the desire to be playful and the desire to communicate on some very stark emotional level.

Life is like a stew, you have to stir it frequently, or all the scum rises to the top.

what are the objects of an useful American education? classical knowlege, modern languages & chiefly French, Spanish, & Italian; Mathematics; Natural philosophy; Natural History; Civil History; Ethics.

Considering the inner fitness of things, one would rather think that the very first act of a will endowed with freedom should be to sustain the belief in the freedom itself.

Thinking means connecting things, and stops if they cannot be connected.

Papa sat with me tonight. He brought the accordion down and sat close to where Max used to sit. I often look at his fingers and face when he plays. the accordion breathes. There are lines on his cheeks. They look drawn on, and for some reason, when I see them, I want to cry. It is not for any sadness or pride. I just like the way they move and change. Sometimes I think my papa is an accordion. When he looks at me and smiles and breathes, I hear the notes.

The entire routine of our memorized acquisitions, for example, is a consequence of nothing but the Law of Contiguity. The words of a poem, the formulas of trigonometry, the facts of history, the properties of material things, are all known to us as definite systems or groups of objects which cohere in an order fixed by innumerable iterations, and of which any one part reminds us of the others.

The exercise of voluntary attention in the schoolroom must therefore be counted one of the most important points of training that take place there; and the first-rate teacher, by the keenness of the remoter interests which he is able to awaken, will provide abundant opportunities for its occurrence.

When I'm writing a theme song for a TV show I always think, "What would be Pavlovian where a kid would be in the kitchen, or an adult would be in the kitchen, and they hear the theme song come on and it would draw them back to the other room so that they would watch the show?"

In all this process of acquiring conceptions, a certain instinctive order is followed. There is a native tendency to assimilate certain kinds of conception at one age, and other kinds of conception at a later age.

No matter how many great performances or exciting visuals we put together for the movie, we found that it was all somewhat two dimensional until we added the emotional heart of Howard Shore's music. Then, and only then, did the film come to life.

I like to think of music as an emotional science.

Psychology teaches us at every step that though two types of activity can have the same external manifestation, whether in origin or essence, their nature may differ most profoundly.

I want to engage the reader. I'm an emotional writer, in the sense that I would be happy if you re-read a book for the intellectual or the mental part of it, but, the first time, I just like to reach out and grab you, pull you in.

Music, uniquely among the arts, is both completely abstract and profoundly emotional.

In the art world, creativity involves aesthetic sensibility, emotional resonance and a gift for expression.