What if one happens to be possessed of a heart that can’t be trusted—? What if the heart, for its own unfathomable reasons, leads one willfully and in a cloud of unspeakable radiance away from health, domesticity, civic responsibility and strong social connections and all the blandly-held common virtues and instead straight towards a beautiful flare of ruin, self-immolation, disaster?
mysterious money had stood to him as the symbol of earthly good, and the immediate object of toil. He had seemed to love it little in the years when every penny had its purpose for him; for he loved the purpose then. But now, when all purpose was gone, that habit of looking towards the money and grasping it with a sense of fulfilled effort made a loam that was deep enough for the seeds of desire.
When you are secure in yourself, know what turns you on, and enjoy watching your partner watch you experience sexual pleasure, you have a highly novel relationship grounded in love. The experience of seeing and being seen fuels lust and desire. This is exactly the way you integrate healthy lust and love into your sex life. It’s relational sex, not the old pornographic sex of past addictions.
Life seems to be a process of replacing one anxiety with another and substituting one desire for another--which is not to say that we should never strive to overcome any of our anxieties or fulfil any of our desires, but rather to suggest that we should perhaps build into our strivings an awareness of the way our goals promise us a respite and a resolution that they cannot, by definition, deliver.
I ask for nothing. / In return I give All. / There is no earning my Love. / No work needed, no effort / Save to listen to what is already heard, / To see what is already seen. / To know what is already known. / Do I seem to ask too little? / Would you give although I ask not? / Then this you can give me and I will accept. / I will take your heart. / You will find it waiting for you / When you return.
We mistakenly assume that bodily survival has a higher precedence than ego survival. This is simply not generally true. Ego will happily destroy the body for its own sake. Look at overweight executives headed for heart attacks on the way to getting their pictures in Fortune or anorexic models suffering slow starvation on their way to getting their pictures in Vogue. Protecting ego is the general case.
He closed the door behind us, and led me through to the back of the shop. ‘If you don’t mind, you can get changed in the stock cupboard,’ he said. ‘We’re not posh enough here to have staff changing rooms, but you’ll soon get used to it.’‘Oh, don’t worry, Chris,’ I said warmly. ‘I’m used to getting my clothes off in unusual places.
Behind all art is an element of desire...Love of life, of existence, love of another human being, love of human beings is in some way behind all art — even the most angry, even the darkest, even the most grief-stricken, and even the most embittered art has that element somewhere behind it. Because how could you be so despairing, so embittered, if you had not had something you loved that you lost?
Resting my head on the high-backed chair, I silently marvel at emotion so strong itcan quite literally chase away all reason and good sense. It is something I have neverexperienced. I pity Frances for being victim to such devastating passions. But, if I amhonest, a small part of me envies her, for she possesses something that I should: desirefor my husband. Moreover, she knows what it is to feel alive.
The truth is -- we are always highly motivated when something means a great deal to us. If I fell into a deep lake and I didn't know how to swim, I would become highly motivated in an instant. Climbing from the lake would mean more to me than anything else in the world. My effort would be no less than astounding and I would suddenly become one of the most excited and enthusiastic persons imaginable.
Novels institutionalize the ruse of eros. It becomes a narrative texture of sustained incongruence, emotional and cognitive. It permits the reader to stand in triangular relation to the characters in the story and reach into the text after the objects of their desire, sharing their longing but also detached from it, seeing their view of reality but also its mistakenness. It is almost like being in love.
Anxiety and desire are two, often conflicting, orientations to the unknown. Both are tilted toward the future. Desire implies a willingness, or a need, to engage this unknown, while anxiety suggests a fear of it. Desire takes one out of oneself, into the possibility or relationship, but it also takes one deeper into oneself. Anxiety turns one back on oneself, but only onto the self that is already known.
As Raimon and Desire listened, Aimeric sang of Carenza's beauty. He sang of the oaths he had given to his lord, the count Bertran, and of another oath, one that he had sworn to Countess Carenza in his heart. He would keep her at the forefront of his thoughts, he would cherish her forever. They would never satisfy their desire, never even kiss one another, but he would be faithful to her until he died.
We’d all lost ourselves and found something far more significant together. We reached with gaping wounds for a healing we desired so badly, like a blind man picturing the world around him—the lively children skipping rope, green grass, blue sky. It’s like that man standing in his vision, rising from the park bench, arms outstretched, taking the first steps into a world he only hopes exists.
Desire acts as a honey trap to the unwary male, luring him into unworthy and catastrophic enterprises. The beauty of the Narnian witches isn't ancillary to their evil, but integral to it, one of the weapons in their arsenal. Evil must, after all, appear attractive if it's going to be tempting, and from there it's only a small step further to the conclusion that feminine beauty is inherently wicked.
