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children ::: cwsa (descriptions)
branches ::: script, scripture, short descriptions, transcripts, Zen Scriptures

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object:script
word class:noun
class:the Word
class:knowledge

see also :::

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now begins generated list of local instances, definitions, quotes, instances in chapters, wordnet info if available and instances among weblinks


OBJECT INSTANCES [2] - TOPICS - AUTHORS - BOOKS - CHAPTERS - CLASSES - SEE ALSO - SIMILAR TITLES

TOPICS
scripture
SEE ALSO


AUTH

BOOKS
A_Brief_History_of_Everything
Advanced_Dungeons_and_Dragons_2E
A_Garden_of_Pomegranates_-_An_Outline_of_the_Qabalah
A_Treatise_on_Cosmic_Fire
Avatamsaka_Sutra
Big_Mind,_Big_Heart
Blazing_the_Trail_from_Infancy_to_Enlightenment
City_of_God
Eloquent_Javascript
Enchiridion_text
Essays_Divine_And_Human
Essays_In_Philosophy_And_Yoga
Evolution_II
Full_Circle
General_Principles_of_Kabbalah
Guru_Bhakti_Yoga
Heart_of_Matter
Infinite_Library
Isha_Upanishad
Kena_and_Other_Upanishads
Know_Yourself
Labyrinths
Let_Me_Explain
Liber_157_-_The_Tao_Teh_King
Liber_Null
Life_without_Death
Mantras_Of_The_Mother
Modern_Man_in_Search_of_a_Soul
Mysticism_and_Logic
New_World_Translation_of_the_Holy_Scriptures
On_Thoughts_And_Aphorisms
Process_and_Reality
Record_of_Yoga
Savitri
The_7_Habits_of_Highly_Effective_People
The_Act_of_Creation
The_Bible
The_Blue_Cliff_Records
the_Book_of_God
The_Book_of_Light
The_Categories
The_Divine_Comedy
The_Divine_Companion
The_Divine_Milieu
The_Epic_of_Gilgamesh
The_Essential_Songs_of_Milarepa
The_Ever-Present_Origin
The_Golden_Bough
The_Holy_Teaching_of_Vimalakirti__A_Mahayana_Scripture
The_Human_Cycle
The_Imitation_of_Christ
The_Interior_Castle_or_The_Mansions
The_Life_Divine
The_Most_Holy_Book
The_Mother_With_Letters_On_The_Mother
The_Phenomenon_of_Man
The_Practice_of_Magical_Evocation
The_Problems_of_Philosophy
The_Republic
The_Seals_of_Wisdom
The_Secret_Doctrine
The_Use_and_Abuse_of_History
The_Way_of_Perfection
The_Yoga_Sutras
Thought_Power
Toward_the_Future
Treasure_Trove_of_Scriptural_Transmission__A_Commentary_on_the_Precious_Treasury_of_the_Basic_Space_of_Phenomena
Twilight_of_the_Idols
Vishnu_Purana
Words_Of_The_Mother_II
Words_Of_The_Mother_III

IN CHAPTERS TITLE
1.01_-_Description_of_the_Castle
1.05_-_Knowledge_by_Aquaintance_and_Knowledge_by_Description
1.11_-_The_Broken_Rocks._Pope_Anastasius._General_Description_of_the_Inferno_and_its_Divisions.
1.14_-_Postscript
1.2.03_-_The_Interpretation_of_Scripture
1.26_-_Continues_the_description_of_a_method_for_recollecting_the_thoughts._Describes_means_of_doing_this._This_chapter_is_very_profitable_for_those_who_are_beginning_prayer.
1.fs_-_Two_Descriptions_Of_Action
1.jlb_-_Inscription_on_any_Tomb
1.jlb_-_Sepulchral_Inscription
1.jr_-_Description_Of_Love
1.lla_-_Learning_the_scriptures_is_easy
1.lla_-_To_learn_the_scriptures_is_easy
1.lovecraft_-_The_Conscript
1.wby_-_To_A_Wealthy_Man_Who_Promised_A_Second_Subscription_To_The_Dublin_Municipal_Gallery_If_It_Were_Prove
1.whitman_-_Inscription
1.ww_-_Inscriptions_For_A_Seat_In_The_Groves_Of_Coleorton
1.ww_-_Inscriptions_In_The_Ground_Of_Coleorton,_The_Seat_Of_Sir_George_Beaumont,_Bart.,_Leicestershire
1.ww_-_Inscriptions_Written_with_a_Slate_Pencil_upon_a_Stone
3.8.1.05_-_Occult_Knowledge_and_the_Hindu_Scriptures
Gods_Script

IN CHAPTERS CLASSNAME

IN CHAPTERS TEXT
0_0.01_-_Introduction
00.01_-_The_Mother_on_Savitri
00.03_-_Upanishadic_Symbolism
0.00a_-_Introduction
0.00_-_INTRODUCTION
0.00_-_The_Book_of_Lies_Text
0.00_-_THE_GOSPEL_PREFACE
0.02_-_The_Three_Steps_of_Nature
0.03_-_The_Threefold_Life
0.06_-_INTRODUCTION
0.06_-_Letters_to_a_Young_Sadhak
0.08_-_Letters_to_a_Young_Captain
01.04_-_The_Poetry_in_the_Making
01.04_-_The_Secret_Knowledge
01.05_-_The_Yoga_of_the_King_-_The_Yoga_of_the_Spirits_Freedom_and_Greatness
0.10_-_Letters_to_a_Young_Captain
01.11_-_Aldous_Huxley:_The_Perennial_Philosophy
0.11_-_Letters_to_a_Sadhak
0_1956-09-12
0_1958-05-10
0_1958-10-04
0_1958-11-04_-_Myths_are_True_and_Gods_exist_-_mental_formation_and_occult_faculties_-_exteriorization_-_work_in_dreams
0_1958-11-08
0_1958-11-15
0_1958-11-27_-_Intermediaries_and_Immediacy
0_1960-07-15
0_1960-10-11
0_1960-10-22
0_1960-10-30
0_1961-01-22
0_1961-02-18
0_1961-03-11
0_1961-04-08
0_1961-07-04
0_1961-07-28
0_1961-09-16
0_1961-09-23
0_1961-10-02
0_1961-10-15
0_1961-10-30
0_1961-11-05
0_1961-11-07
0_1961-11-16b
0_1961-12-16
0_1961-12-20
0_1961-12-23
0_1962-01-09
0_1962-01-12_-_supramental_ship
0_1962-01-27
0_1962-02-13
0_1962-02-27
0_1962-05-15
0_1962-05-24
0_1962-06-27
0_1962-07-11
0_1962-07-14
0_1962-07-21
0_1962-07-25
0_1962-08-04
0_1962-08-08
0_1962-08-11
0_1962-09-05
0_1962-09-15
0_1962-09-22
0_1962-09-26
0_1962-10-24
0_1962-11-07
0_1962-11-10
0_1962-11-14
0_1962-11-23
0_1962-12-19
0_1962-12-22
0_1962-12-28
0_1963-01-12
0_1963-01-18
0_1963-01-30
0_1963-04-22
0_1963-05-11
0_1963-05-25
0_1963-07-03
0_1963-07-13
0_1963-08-07
0_1963-08-24
0_1963-08-28
0_1963-09-25
0_1963-10-16
0_1963-11-27
0_1963-12-31
0_1964-01-08
0_1964-01-15
0_1964-01-29
0_1964-02-05
0_1964-03-07
0_1964-04-04
0_1964-07-22
0_1964-08-26
0_1964-09-12
0_1964-10-17
0_1965-03-20
0_1965-05-08
0_1965-12-18
0_1966-02-11
0_1966-04-27
0_1966-05-18
0_1966-10-08
0_1966-11-26
0_1966-12-17
0_1966-12-20
0_1967-01-25
0_1967-04-12
0_1967-04-15
0_1967-05-06
0_1967-05-10
0_1967-06-07
0_1967-07-22
0_1967-07-26
0_1967-07-29
0_1967-08-30
0_1967-10-30
0_1968-01-12
0_1968-02-03
0_1968-02-28
0_1968-05-18
0_1968-06-22
0_1968-07-27
0_1968-09-07
0_1968-09-28
0_1968-10-05
0_1968-11-02
0_1968-12-11
0_1969-01-08
0_1969-01-22
0_1969-02-19
0_1969-02-26
0_1969-03-01
0_1969-04-09
0_1969-08-02
0_1969-11-22
0_1970-01-03
0_1970-01-07
0_1970-03-14
0_1970-04-18
0_1970-06-03
0_1970-09-16
0_1970-10-31
0_1971-01-27
0_1971-06-23
0_1971-08-Undated
0_1971-12-18
0_1972-03-22
0_1972-03-29a
0_1972-04-05
0_1972-05-13
0_1972-05-19
0_1972-06-23
0_1972-06-24
0_1972-10-07
0_1973-01-20
02.01_-_The_World_War
02.02_-_Rishi_Dirghatama
02.06_-_The_Kingdoms_and_Godheads_of_the_Greater_Life
02.07_-_George_Seftris
02.07_-_The_Descent_into_Night
02.08_-_Jules_Supervielle
02.08_-_The_World_of_Falsehood,_the_Mother_of_Evil_and_the_Sons_of_Darkness
02.10_-_The_Kingdoms_and_Godheads_of_the_Little_Mind
02.11_-_Hymn_to_Darkness
02.11_-_The_Kingdoms_and_Godheads_of_the_Greater_Mind
02.12_-_Mysticism_in_Bengali_Poetry
03.01_-_The_Evolution_of_Consciousness
03.02_-_Yogic_Initiation_and_Aptitude
03.03_-_Arjuna_or_the_Ideal_Disciple
04.03_-_The_Call_to_the_Quest
04.04_-_Evolution_of_the_Spiritual_Consciousness
04.06_-_Evolution_of_the_Spiritual_Consciousness
05.02_-_Physician,_Heal_Thyself
05.02_-_Satyavan
05.03_-_The_Body_Natural
05.06_-_Physics_or_philosophy
05.07_-_The_Observer_and_the_Observed
06.02_-_The_Way_of_Fate_and_the_Problem_of_Pain
07.01_-_Realisation,_Past_and_Future
07.06_-_Record_of_World-History
07.38_-_Past_Lives_and_the_Psychic_Being
08.14_-_Poetry_and_Poetic_Inspiration
08.28_-_Prayer_and_Aspiration
08.31_-_Personal_Effort_and_Surrender
100.00_-_Synergy
1.001_-_The_Aim_of_Yoga
10.03_-_Life_in_and_Through_Death
10.03_-_The_Debate_of_Love_and_Death
10.04_-_Lord_of_Time
10.04_-_The_Dream_Twilight_of_the_Earthly_Real
1.007_-_Initial_Steps_in_Yoga_Practice
1.009_-_Perception_and_Reality
1.00a_-_Introduction
1.00b_-_INTRODUCTION
1.00b_-_Introduction
1.00c_-_DIVISION_C_-_THE_ETHERIC_BODY_AND_PRANA
1.00e_-_DIVISION_E_-_MOTION_ON_THE_PHYSICAL_AND_ASTRAL_PLANES
1.00h_-_Foreword
1.00_-_Introduction_to_Alchemy_of_Happiness
1.00_-_Main
1.00_-_PREFACE_-_DESCENSUS_AD_INFERNOS
1.00_-_The_way_of_what_is_to_come
1.013_-_Defence_Mechanisms_of_the_Mind
1.01_-_About_the_Elements
1.01_-_Adam_Kadmon_and_the_Evolution
1.01_-_Appearance_and_Reality
1.01_-_Archetypes_of_the_Collective_Unconscious
1.01_-_Asana
1.01_-_Description_of_the_Castle
1.01_-_Economy
1.01_-_Foreward
1.01_-_Fundamental_Considerations
1.01_-_Historical_Survey
1.01_-_MAPS_OF_EXPERIENCE_-_OBJECT_AND_MEANING
1.01_-_MASTER_AND_DISCIPLE
1.01_-_Newtonian_and_Bergsonian_Time
1.01_-_On_knowledge_of_the_soul,_and_how_knowledge_of_the_soul_is_the_key_to_the_knowledge_of_God.
1.01_-_Our_Demand_and_Need_from_the_Gita
1.01_-_Prayer
1.01_-_SAMADHI_PADA
1.01_-_THAT_ARE_THOU
1.01_-_The_Ego
1.01_-_The_Four_Aids
1.01_-_The_Highest_Meaning_of_the_Holy_Truths
1.01_-_The_Ideal_of_the_Karmayogin
1.01_-_To_Watanabe_Sukefusa
1.020_-_The_World_and_Our_World
1.02.2.2_-_Self-Realisation
1.024_-_Affiliation_With_Larger_Wholes
1.028_-_Bringing_About_Whole-Souled_Dedication
10.29_-_Gods_Debt
1.02_-_IN_THE_COMPANY_OF_DEVOTEES
1.02_-_Karmayoga
1.02_-_MAPS_OF_MEANING_-_THREE_LEVELS_OF_ANALYSIS
1.02_-_Meditating_on_Tara
1.02_-_On_the_Knowledge_of_God.
1.02_-_Outline_of_Practice
1.02_-_Prayer_of_Parashara_to_Vishnu
1.02_-_SADHANA_PADA
1.02_-_Self-Consecration
1.02_-_The_Age_of_Individualism_and_Reason
1.02_-_The_Child_as_growing_being_and_the_childs_experience_of_encountering_the_teacher.
1.02_-_The_Concept_of_the_Collective_Unconscious
1.02_-_The_Development_of_Sri_Aurobindos_Thought
1.02_-_The_Divine_Teacher
1.02_-_The_Eternal_Law
1.02_-_The_Magic_Circle
1.02_-_THE_NATURE_OF_THE_GROUND
1.02_-_The_Philosophy_of_Ishvara
1.02_-_The_Pit
1.02_-_The_Principle_of_Fire
1.02_-_The_Recovery
1.02_-_The_Stages_of_Initiation
1.02_-_The_Three_European_Worlds
1.02_-_The_Two_Negations_1_-_The_Materialist_Denial
1.02_-_The_Ultimate_Path_is_Without_Difficulty
1.02_-_THE_WITHIN_OF_THINGS
1.02_-_Where_I_Lived,_and_What_I_Lived_For
1.031_-_Intense_Aspiration
10.35_-_The_Moral_and_the_Spiritual
1.035_-_The_Recitation_of_Mantra
1.037_-_Preventing_the_Fall_in_Yoga
1.03_-_A_Parable
1.03_-_APPRENTICESHIP_AND_ENCULTURATION_-_ADOPTION_OF_A_SHARED_MAP
1.03_-_Bloodstream_Sermon
1.03_-_Concerning_the_Archetypes,_with_Special_Reference_to_the_Anima_Concept
1.03_-_Master_Ma_is_Unwell
1.03_-_PERSONALITY,_SANCTITY,_DIVINE_INCARNATION
1.03_-_Questions_and_Answers
1.03_-_Reading
1.03_-_Self-Surrender_in_Works_-_The_Way_of_The_Gita
1.03_-_Some_Practical_Aspects
1.03_-_Tara,_Liberator_from_the_Eight_Dangers
1.03_-_THE_ORPHAN,_THE_WIDOW,_AND_THE_MOON
1.03_-_The_Sephiros
1.03_-_The_Syzygy_-_Anima_and_Animus
1.03_-_To_Layman_Ishii
1.03_-_VISIT_TO_VIDYASAGAR
1.040_-_Re-Educating_the_Mind
1.045_-_Piercing_the_Structure_of_the_Object
1.04_-_ADVICE_TO_HOUSEHOLDERS
1.04_-_Descent_into_Future_Hell
1.04_-_GOD_IN_THE_WORLD
1.04_-_KAI_VALYA_PADA
1.04_-_Narayana_appearance,_in_the_beginning_of_the_Kalpa,_as_the_Varaha_(boar)
1.04_-_On_blessed_and_ever-memorable_obedience
1.04_-_Reality_Omnipresent
1.04_-_Te_Shan_Carrying_His_Bundle
1.04_-_The_Aims_of_Psycho_therapy
1.04_-_THE_APPEARANCE_OF_ANOMALY_-_CHALLENGE_TO_THE_SHARED_MAP
1.04_-_The_Core_of_the_Teaching
1.04_-_The_Divine_Mother_-_This_Is_She
1.04_-_The_Gods_of_the_Veda
1.04_-_The_Paths
1.04_-_The_Sacrifice_the_Triune_Path_and_the_Lord_of_the_Sacrifice
1.04_-_The_Self
1.04_-_To_the_Priest_of_Rytan-ji
1.05_-_2010_and_1956_-_Doomsday?
1.052_-_Yoga_Practice_-_A_Series_of_Positive_Steps
1.053_-_A_Very_Important_Sadhana
1.056_-_Lack_of_Knowledge_is_the_Cause_of_Suffering
1.05_-_Adam_Kadmon
1.05_-_Christ,_A_Symbol_of_the_Self
1.05_-_Computing_Machines_and_the_Nervous_System
1.05_-_Consciousness
1.05_-_Knowledge_by_Aquaintance_and_Knowledge_by_Description
1.05_-_On_painstaking_and_true_repentance_which_constitute_the_life_of_the_holy_convicts;_and_about_the_prison.
1.05_-_Qualifications_of_the_Aspirant_and_the_Teacher
1.05_-_Ritam
1.05_-_Solitude
1.05_-_Some_Results_of_Initiation
1.05_-_The_Ascent_of_the_Sacrifice_-_The_Psychic_Being
1.05_-_The_Belly_of_the_Whale
1.05_-_The_Destiny_of_the_Individual
1.05_-_THE_HOSTILE_BROTHERS_-_ARCHETYPES_OF_RESPONSE_TO_THE_UNKNOWN
1.05_-_THE_MASTER_AND_KESHAB
1.05_-_True_and_False_Subjectivism
1.05_-_Vishnu_as_Brahma_creates_the_world
1.06_-_Agni_and_the_Truth
1.06_-_Being_Human_and_the_Copernican_Principle
1.06_-_LIFE_AND_THE_PLANETS
1.06_-_MORTIFICATION,_NON-ATTACHMENT,_RIGHT_LIVELIHOOD
1.06_-_On_Thought
1.06_-_Origin_of_the_four_castes
1.06_-_The_Literal_Qabalah
1.06_-_THE_MASTER_WITH_THE_BRAHMO_DEVOTEES
1.06_-_The_Sign_of_the_Fishes
1.06_-_The_Three_Schools_of_Magick_1
1.06_-_Wealth_and_Government
1.070_-_The_Seven_Stages_of_Perfection
1.075_-_Self-Control,_Study_and_Devotion_to_God
1.078_-_Kumbhaka_and_Concentration_of_Mind
1.07_-_A_Song_of_Longing_for_Tara,_the_Infallible
1.07_-_BOOK_THE_SEVENTH
1.07_-_Bridge_across_the_Afterlife
1.07_-_Hui_Ch'ao_Asks_about_Buddha
1.07_-_Medicine_and_Psycho_therapy
1.07_-_On_Dreams
1.07_-_Samadhi
1.07_-_Savitri
1.07_-_Standards_of_Conduct_and_Spiritual_Freedom
1.07_-_The_Continuity_of_Consciousness
1.07_-_The_Farther_Reaches_of_Human_Nature
1.07_-_The_Ideal_Law_of_Social_Development
1.07_-_THE_.IMPROVERS._OF_MANKIND
1.07_-_The_Literal_Qabalah_(continued)
1.07_-_The_Magic_Wand
1.07_-_THE_MASTER_AND_VIJAY_GOSWAMI
1.07_-_The_Psychic_Center
1.07_-_TRUTH
1.080_-_Pratyahara_-_The_Return_of_Energy
1.081_-_The_Application_of_Pratyahara
1.089_-_The_Levels_of_Concentration
1.08_-_Adhyatma_Yoga
1.08a_-_The_Ladder
1.08_-_Attendants
1.08_-_BOOK_THE_EIGHTH
1.08_-_Origin_of_Rudra:_his_becoming_eight_Rudras
1.08_-_Phlegyas._Philippo_Argenti._The_Gate_of_the_City_of_Dis.
1.08_-_RELIGION_AND_TEMPERAMENT
1.08_-_Sri_Aurobindos_Descent_into_Death
1.08_-_The_Depths_of_the_Divine
1.08_-_The_Four_Austerities_and_the_Four_Liberations
1.08_-_The_Gods_of_the_Veda_-_The_Secret_of_the_Veda
1.08_-_The_Historical_Significance_of_the_Fish
1.08_-_THE_MASTERS_BIRTHDAY_CELEBRATION_AT_DAKSHINESWAR
1.08_-_The_Methods_of_Vedantic_Knowledge
1.08_-_The_Splitting_of_the_Human_Personality_during_Spiritual_Training
1.08_-_The_Three_Schools_of_Magick_3
1.08_-_Wherein_is_expounded_the_first_line_of_the_first_stanza,_and_a_beginning_is_made_of_the_explanation_of_this_dark_night
1.094_-_Understanding_the_Structure_of_Things
1.099_-_The_Entry_of_the_Eternal_into_the_Individual
1.09_-_ADVICE_TO_THE_BRAHMOS
1.09_-_A_System_of_Vedic_Psychology
1.09_-_BOOK_THE_NINTH
1.09_-_Concentration_-_Its_Spiritual_Uses
1.09_-_Fundamental_Questions_of_Psycho_therapy
1.09_-_Kundalini_Yoga
1.09_-_On_remembrance_of_wrongs.
1.09_-_SELF-KNOWLEDGE
1.09_-_SKIRMISHES_IN_A_WAY_WITH_THE_AGE
1.09_-_Sleep_and_Death
1.09_-_Sri_Aurobindo_and_the_Big_Bang
1.09_-_Taras_Ultimate_Nature
1.09_-_The_Guardian_of_the_Threshold
1.09_-_The_Secret_Chiefs
1.1.02_-_Sachchidananda
11.05_-_The_Ladder_of_Unconsciousness
1.107_-_The_Bestowal_of_a_Divine_Gift
1.10_-_Concentration_-_Its_Practice
1.10_-_Conscious_Force
1.10_-_GRACE_AND_FREE_WILL
1.10_-_On_our_Knowledge_of_Universals
1.10_-_Relics_of_Tree_Worship_in_Modern_Europe
1.10_-_The_descendants_of_the_daughters_of_Daksa_married_to_the_Rsis
1.10_-_THE_FORMATION_OF_THE_NOOSPHERE
1.10_-_The_Methods_and_the_Means
1.10_-_The_Secret_of_the_Veda
1.1.1.01_-_Three_Elements_of_Poetic_Creation
1.1.1.03_-_Creative_Power_and_the_Human_Instrument
1.1.1.06_-_Inspiration_and_Effort
11.15_-_Sri_Aurobindo
1.11_-_Correspondence_and_Interviews
1.11_-_The_Broken_Rocks._Pope_Anastasius._General_Description_of_the_Inferno_and_its_Divisions.
1.11_-_The_Kalki_Avatar
1.11_-_The_Seven_Rivers
1.11_-_Transformation
1.11_-_WITH_THE_DEVOTEES_AT_DAKSHINEWAR
1.1.2_-_Commentary
1.12_-_Dhruva_commences_a_course_of_religious_austerities
1.12_-_God_Departs
1.12_-_Independence
1.12_-_Sleep_and_Dreams
1.12_-_The_Divine_Work
1.12_-_THE_FESTIVAL_AT_PNIHTI
1.12_-_The_Sacred_Marriage
1.12_-_The_Superconscient
1.12_-_TIME_AND_ETERNITY
1.13_-_Conclusion_-_He_is_here
1.13_-_Gnostic_Symbols_of_the_Self
1.13_-_Posterity_of_Dhruva
1.13_-_SALVATION,_DELIVERANCE,_ENLIGHTENMENT
1.13_-_The_Divine_Maya
1.13_-_The_Kings_of_Rome_and_Alba
1.13_-_THE_MASTER_AND_M.
1.14_-_Bibliography
1.14_-_IMMORTALITY_AND_SURVIVAL
1.14_-_INSTRUCTION_TO_VAISHNAVS_AND_BRHMOS
1.14_-_Postscript
1.14_-_The_Limits_of_Philosophical_Knowledge
1.14_-_The_Secret
1.14_-_The_Structure_and_Dynamics_of_the_Self
1.14_-_The_Supermind_as_Creator
1.14_-_The_Suprarational_Beauty
1.15_-_Index
1.15_-_The_world_overrun_with_trees;_they_are_destroyed_by_the_Pracetasas
1.15_-_The_Worship_of_the_Oak
1.16_-_Dianus_and_Diana
1.16_-_WITH_THE_DEVOTEES_AT_DAKSHINESWAR
1.17_-_The_Burden_of_Royalty
1.17_-_The_Divine_Birth_and_Divine_Works
1.17_-_The_Seven-Headed_Thought,_Swar_and_the_Dashagwas
1.17_-_The_Transformation
1.18_-_Asceticism
1.18_-_Evocation
1.18_-_FAITH
1.18_-_M._AT_DAKSHINESWAR
1.18_-_On_insensibility,_that_is,_deadening_of_the_soul_and_the_death_of_the_mind_before_the_death_of_the_body.
1.18_-_The_Human_Fathers
1.18_-_The_Importance_of_our_Conventional_Greetings,_etc.
1.19_-_Equality
1.19_-_The_Act_of_Truth
1.19_-_THE_MASTER_AND_HIS_INJURED_ARM
1.19_-_The_Practice_of_Magical_Evocation
1.200-1.224_Talks
1.201_-_Socrates
1.2.03_-_The_Interpretation_of_Scripture
1.2.07_-_Surrender
1.20_-_RULES_FOR_HOUSEHOLDERS_AND_MONKS
1.20_-_TANTUM_RELIGIO_POTUIT_SUADERE_MALORUM
1.2.1.11_-_Mystic_Poetry_and_Spiritual_Poetry
1.21_-_A_DAY_AT_DAKSHINESWAR
1.21_-_Families_of_the_Daityas
1.21_-_Tabooed_Things
1.22_-_ADVICE_TO_AN_ACTOR
1.22__-_Dominion_over_different_provinces_of_creation_assigned_to_different_beings
1.22_-_EMOTIONALISM
1.22_-_How_to_Learn_the_Practice_of_Astrology
1.22_-_Tabooed_Words
1.22_-_THE_END_OF_THE_SPECIES
1.23_-_FESTIVAL_AT_SURENDRAS_HOUSE
1.23_-_THE_MIRACULOUS
1.240_-_1.300_Talks
1.240_-_Talks_2
1.24_-_On_meekness,_simplicity,_guilelessness_which_come_not_from_nature_but_from_habit,_and_about_malice.
1.24_-_PUNDIT_SHASHADHAR
1.24_-_RITUAL,_SYMBOL,_SACRAMENT
1.24_-_The_Advent_and_Progress_of_the_Spiritual_Age
1.24_-_The_Killing_of_the_Divine_King
1.25_-_ADVICE_TO_PUNDIT_SHASHADHAR
1.25_-_Critical_Objections_brought_against_Poetry,_and_the_principles_on_which_they_are_to_be_answered.
1.25_-_On_the_destroyer_of_the_passions,_most_sublime_humility,_which_is_rooted_in_spiritual_feeling.
1.25_-_SPIRITUAL_EXERCISES
1.26_-_Continues_the_description_of_a_method_for_recollecting_the_thoughts._Describes_means_of_doing_this._This_chapter_is_very_profitable_for_those_who_are_beginning_prayer.
1.26_-_FESTIVAL_AT_ADHARS_HOUSE
1.26_-_On_discernment_of_thoughts,_passions_and_virtues
1.27_-_AT_DAKSHINESWAR
1.27_-_On_holy_solitude_of_body_and_soul.
1.28_-_The_Killing_of_the_Tree-Spirit
1.29_-_The_Myth_of_Adonis
1.2_-_Katha_Upanishads
1.300_-_1.400_Talks
1.30_-_Do_you_Believe_in_God?
1.31_-_Adonis_in_Cyprus
1.34_-_Continues_the_same_subject._This_is_very_suitable_for_reading_after_the_reception_of_the_Most_Holy_Sacrament.
1.34_-_The_Myth_and_Ritual_of_Attis
1.35_-_The_Tao_2
1.36_-_Human_Representatives_of_Attis
1.37_-_Describes_the_excellence_of_this_prayer_called_the_Paternoster,_and_the_many_ways_in_which_we_shall_find_consolation_in_it.
1.37_-_Oriential_Religions_in_the_West
1.38_-_The_Myth_of_Osiris
1.38_-_Treats_of_the_great_need_which_we_have_to_beseech_the_Eternal_Father_to_grant_us_what_we_ask_in_these_words:_Et_ne_nos_inducas_in_tentationem,_sed_libera_nos_a_malo._Explains_certain_temptations._This_chapter_is_noteworthy.
1.39_-_Prophecy
1.39_-_The_Ritual_of_Osiris
1.3_-_Mundaka_Upanishads
1.400_-_1.450_Talks
1.4.01_-_The_Divine_Grace_and_Guidance
1.41_-_Isis
1.42_-_Osiris_and_the_Sun
1.42_-_This_Self_Introversion
1.439
1.450_-_1.500_Talks
1.46_-_Selfishness
1.46_-_The_Corn-Mother_in_Many_Lands
1.47_-_Lityerses
1.48_-_Morals_of_AL_-_Hard_to_Accept,_and_Why_nevertheless_we_Must_Concur
1.49_-_Ancient_Deities_of_Vegetation_as_Animals
15.09_-_One_Day_More
1.51_-_How_to_Recognise_Masters,_Angels,_etc.,_and_how_they_Work
1.52_-_Family_-_Public_Enemy_No._1
1.52_-_Killing_the_Divine_Animal
1.550_-_1.600_Talks
1.55_-_The_Transference_of_Evil
1.57_-_Public_Scapegoats
1.58_-_Human_Scapegoats_in_Classical_Antiquity
1.59_-_Killing_the_God_in_Mexico
1.62_-_The_Fire-Festivals_of_Europe
1.64_-_The_Burning_of_Human_Beings_in_the_Fires
1.65_-_Balder_and_the_Mistletoe
1.65_-_Man
1.66_-_The_External_Soul_in_Folk-Tales
1.68_-_The_Golden_Bough
1.69_-_Farewell_to_Nemi
17.09_-_Victory_to_the_World_Master
17.11_-_A_Prayer
1.72_-_Education
1.78_-_Sore_Spots
18.02_-_Ramprasad
18.04_-_Modern_Poems
1914_02_22p
1929-08-04_-_Surrender_and_sacrifice_-_Personality_and_surrender_-_Desire_and_passion_-_Spirituality_and_morality
1951-02-05_-_Surrender_and_tapasya_-_Dealing_with_difficulties,_sincerity,_spiritual_discipline_-_Narrating_experiences_-_Vital_impulse_and_will_for_progress
1951-02-08_-_Unifying_the_being_-_ideas_of_good_and_bad_-_Miracles_-_determinism_-_Supreme_Will_-_Distinguishing_the_voice_of_the_Divine
1951-02-15_-_Dreams,_symbolic_-_true_repose_-_False_visions_-_Earth-memory_and_history
1951-03-17_-_The_universe-_eternally_new,_same_-_Pralaya_Traditions_-_Light_and_thought_-_new_consciousness,_forces_-_The_expanding_universe_-_inexpressible_experiences_-_Ashram_surcharged_with_Light_-_new_force_-_vibrating_atmospheres
1951-04-07_-_Origin_of_Evil_-_Misery-_its_cause
1953-06-03
1953-07-01
1953-09-30
1954-05-26_-_Symbolic_dreams_-_Psychic_sorrow_-_Dreams,_one_is_rarely_conscious
1954-06-16_-_Influences,_Divine_and_other_-_Adverse_forces_-_The_four_great_Asuras_-_Aspiration_arranges_circumstances_-_Wanting_only_the_Divine
1954-07-14_-_The_Divine_and_the_Shakti_-_Personal_effort_-_Speaking_and_thinking_-_Doubt_-_Self-giving,_consecration_and_surrender_-_Mothers_use_of_flowers_-_Ornaments_and_protection
1954-08-11_-_Division_and_creation_-_The_gods_and_human_formations_-_People_carry_their_desires_around_them
1954-08-18_-_Mahalakshmi_-_Maheshwari_-_Mahasaraswati_-_Determinism_and_freedom_-_Suffering_and_knowledge_-_Aspects_of_the_Mother
1954-08-25_-_Ananda_aspect_of_the_Mother_-_Changing_conditions_in_the_Ashram_-_Ascetic_discipline_-_Mothers_body
1954-09-08_-_Hostile_forces_-_Substance_-_Concentration_-_Changing_the_centre_of_thought_-_Peace
1954-11-10_-_Inner_experience,_the_basis_of_action_-_Keeping_open_to_the_Force_-_Faith_through_aspiration_-_The_Mothers_symbol_-_The_mind_and_vital_seize_experience_-_Degrees_of_sincerity_-Becoming_conscious_of_the_Divine_Force
1954-11-24_-_Aspiration_mixed_with_desire_-_Willing_and_desiring_-_Children_and_desires_-_Supermind_and_the_higher_ranges_of_mind_-_Stages_in_the_supramental_manifestation
1954-12-15_-_Many_witnesses_inside_oneself_-_Children_in_the_Ashram_-_Trance_and_the_waking_consciousness_-_Ascetic_methods_-_Education,_spontaneous_effort_-_Spiritual_experience
1955-06-22_-_Awakening_the_Yoga-shakti_-_The_thousand-petalled_lotus-_Reading,_how_far_a_help_for_yoga_-_Simple_and_complicated_combinations_in_men
1955-07-20_-_The_Impersonal_Divine_-_Surrender_to_the_Divine_brings_perfect_freedom_-_The_Divine_gives_Himself_-_The_principle_of_the_inner_dimensions_-_The_paths_of_aspiration_and_surrender_-_Linear_and_spherical_paths_and_realisations
1955-09-21_-_Literature_and_the_taste_for_forms_-_The_characters_of_The_Great_Secret_-_How_literature_helps_us_to_progress_-_Reading_to_learn_-_The_commercial_mentality_-_How_to_choose_ones_books_-_Learning_to_enrich_ones_possibilities_...
1955-11-16_-_The_significance_of_numbers_-_Numbers,_astrology,_true_knowledge_-_Divines_Love_flowers_for_Kali_puja_-_Desire,_aspiration_and_progress_-_Determining_ones_approach_to_the_Divine_-_Liberation_is_obtained_through_austerities_-_...
1956-04-04_-_The_witness_soul_-_A_Gita_enthusiast_-_Propagandist_spirit,_Tolstoys_son
1956-04-18_-_Ishwara_and_Shakti,_seeing_both_aspects_-_The_Impersonal_and_the_divine_Person_-_Soul,_the_presence_of_the_divine_Person_-_Going_to_other_worlds,_exteriorisation,_dreams_-_Telling_stories_to_oneself
1956-04-25_-_God,_human_conception_and_the_true_Divine_-_Earthly_existence,_to_realise_the_Divine_-_Ananda,_divine_pleasure_-_Relations_with_the_divine_Presence_-_Asking_the_Divine_for_what_one_needs_-_Allowing_the_Divine_to_lead_one
1956-05-23_-_Yoga_and_religion_-_Story_of_two_clergymen_on_a_boat_-_The_Buddha_and_the_Supramental_-_Hieroglyphs_and_phonetic_alphabets_-_A_vision_of_ancient_Egypt_-_Memory_for_sounds
1956-08-15_-_Protection,_purification,_fear_-_Atmosphere_at_the_Ashram_on_Darshan_days_-_Darshan_messages_-_Significance_of_15-08_-_State_of_surrender_-_Divine_Grace_always_all-powerful_-_Assumption_of_Virgin_Mary_-_SA_message_of_1947-08-15
1956-08-22_-_The_heaven_of_the_liberated_mind_-_Trance_or_samadhi_-_Occult_discipline_for_leaving_consecutive_bodies_-_To_be_greater_than_ones_experience_-_Total_self-giving_to_the_Grace_-_The_truth_of_the_being_-_Unique_relation_with_the_Supreme
1956-10-31_-_Manifestation_of_divine_love_-_Deformation_of_Love_by_human_consciousness_-_Experience_and_expression_of_experience
1956-12-05_-_Even_and_objectless_ecstasy_-_Transform_the_animal_-_Individual_personality_and_world-personality_-_Characteristic_features_of_a_world-personality_-_Expressing_a_universal_state_of_consciousness_-_Food_and_sleep_-_Ordered_intuition
1957-06-12_-_Fasting_and_spiritual_progress
1958-06-25_-_Sadhana_in_the_body
1960_01_20
1960_04_20
1960_06_22
1961_03_11_-_58
1962_01_12
1962_02_27
1963_11_05?_-_96
1964_02_05_-_98
1964_02_06?_-_99
1969_10_01?_-_166
1969_10_23
1969_11_24
1970_03_03
1970_03_13
1970_03_18
1970_04_22_-_482
1970_05_12
1.A_-_ANTHROPOLOGY,_THE_SOUL
1.anon_-_The_Seven_Evil_Spirits
1.bs_-_this_love_--_O_Bulleh_--_tormenting,_unique
1.dd_-_As_many_as_are_the_waves_of_the_sea
1f.lovecraft_-_At_the_Mountains_of_Madness
1f.lovecraft_-_Cool_Air
1f.lovecraft_-_Dagon
1f.lovecraft_-_Deaf,_Dumb,_and_Blind
1f.lovecraft_-_Facts_concerning_the_Late
1f.lovecraft_-_Herbert_West-Reanimator
1f.lovecraft_-_H.P._Lovecrafts
1f.lovecraft_-_Ibid
1f.lovecraft_-_In_the_Walls_of_Eryx
1f.lovecraft_-_Old_Bugs
1f.lovecraft_-_Out_of_the_Aeons
1f.lovecraft_-_Pickmans_Model
1f.lovecraft_-_Poetry_and_the_Gods
1f.lovecraft_-_Polaris
1f.lovecraft_-_The_Alchemist
1f.lovecraft_-_The_Battle_that_Ended_the_Century
1f.lovecraft_-_The_Call_of_Cthulhu
1f.lovecraft_-_The_Case_of_Charles_Dexter_Ward
1f.lovecraft_-_The_Challenge_from_Beyond
1f.lovecraft_-_The_Diary_of_Alonzo_Typer
1f.lovecraft_-_The_Dream-Quest_of_Unknown_Kadath
1f.lovecraft_-_The_Dreams_in_the_Witch_House
1f.lovecraft_-_The_Dunwich_Horror
1f.lovecraft_-_The_Electric_Executioner
1f.lovecraft_-_The_Green_Meadow
1f.lovecraft_-_The_Haunter_of_the_Dark
1f.lovecraft_-_The_History_of_the_Necronomicon
1f.lovecraft_-_The_Horror_at_Red_Hook
1f.lovecraft_-_The_Horror_in_the_Burying-Ground
1f.lovecraft_-_The_Horror_in_the_Museum
1f.lovecraft_-_The_Hound
1f.lovecraft_-_The_Lurking_Fear
1f.lovecraft_-_The_Man_of_Stone
1f.lovecraft_-_The_Moon-Bog
1f.lovecraft_-_The_Mound
1f.lovecraft_-_The_Music_of_Erich_Zann
1f.lovecraft_-_The_Nameless_City
1f.lovecraft_-_The_Other_Gods
1f.lovecraft_-_The_Picture_in_the_House
1f.lovecraft_-_The_Rats_in_the_Walls
1f.lovecraft_-_The_Shadow_out_of_Time
1f.lovecraft_-_The_Shadow_over_Innsmouth
1f.lovecraft_-_The_Shunned_House
1f.lovecraft_-_The_Temple
1f.lovecraft_-_The_Thing_on_the_Doorstep
1f.lovecraft_-_The_Transition_of_Juan_Romero
1f.lovecraft_-_The_Unnamable
1f.lovecraft_-_The_Whisperer_in_Darkness
1f.lovecraft_-_Through_the_Gates_of_the_Silver_Key
1f.lovecraft_-_Two_Black_Bottles
1f.lovecraft_-_Under_the_Pyramids
1f.lovecraft_-_Winged_Death
1.fs_-_Resignation
1.fs_-_Two_Descriptions_Of_Action
1.fua_-_Mysticism
1.ia_-_Allah
1.jk_-_A_Draught_Of_Sunshine
1.jk_-_A_Song_About_Myself
1.jk_-_Endymion_-_Book_IV
1.jk_-_Faery_Songs
1.jk_-_Isabella;_Or,_The_Pot_Of_Basil_-_A_Story_From_Boccaccio
1.jk_-_I_Stood_Tip-Toe_Upon_A_Little_Hill
1.jk_-_La_Belle_Dame_Sans_Merci
1.jk_-_Lamia._Part_I
1.jk_-_Lamia._Part_II
1.jk_-_Lines
1.jk_-_Lines_On_Seeing_A_Lock_Of_Miltons_Hair
1.jk_-_Lines_Written_In_The_Highlands_After_A_Visit_To_Burnss_Country
1.jk_-_Ode_On_Melancholy
1.jk_-_Ode_To_A_Nightingale
1.jk_-_On_Hearing_The_Bag-Pipe_And_Seeing_The_Stranger_Played_At_Inverary
1.jk_-_On_Receiving_A_Curious_Shell
1.jk_-_Robin_Hood
1.jk_-_Sharing_Eves_Apple
1.jk_-_Sleep_And_Poetry
1.jk_-_Sonnet._A_Dream,_After_Reading_Dantes_Episode_Of_Paulo_And_Francesca
1.jk_-_Sonnet_II._To_.........
1.jk_-_Sonnet_I._To_My_Brother_George
1.jk_-_Sonnet_To_George_Keats_-_Written_In_Sickness
1.jk_-_Sonnet_To_Homer
1.jk_-_Sonnet_To_Sleep
1.jk_-_Sonnet_To_Spenser
1.jk_-_Sonnet_VIII._To_My_Brothers
1.jk_-_Sonnet_VI._To_G._A._W.
1.jk_-_Sonnet_-_When_I_Have_Fears_That_I_May_Cease_To_Be
1.jk_-_Sonnet._Written_Before_Re-Read_King_Lear
1.jk_-_Sonnet._Written_In_Answer_To_A_Sonnet_By_J._H._Reynolds
1.jk_-_Sonnet._Written_In_Disgust_Of_Vulgar_Superstition
1.jk_-_Sonnet._Written_On_A_Blank_Page_In_Shakespeares_Poems,_Facing_A_Lovers_Complaint
1.jk_-_Sonnet_XI._On_First_Looking_Into_Chapmans_Homer
1.jk_-_Sonnet_X._To_One_Who_Has_Been_Long_In_City_Pent
1.jk_-_Stanzas._In_A_Drear-Nighted_December
1.jk_-_Stanzas_To_Miss_Wylie
1.jk_-_The_Cap_And_Bells;_Or,_The_Jealousies_-_A_Faery_Tale_.._Unfinished
1.jk_-_To_.......
1.jk_-_Translated_From_A_Sonnet_Of_Ronsard
1.jk_-_Written_In_The_Cottage_Where_Burns_Was_Born
1.jlb_-_Inscription_on_any_Tomb
1.jlb_-_Sepulchral_Inscription
1.jm_-_Response_to_a_Logician
1.jr_-_Description_Of_Love
1.jwvg_-_The_Wanderer
1.lla_-_Its_so_much_easier_to_study_than_act
1.lla_-_Learning_the_scriptures_is_easy
1.lla_-_To_learn_the_scriptures_is_easy
1.lovecraft_-_The_Conscript
1.okym_-_72_-_Alas,_that_Spring_should_vanish_with_the_Rose!
1.pbs_-_Alastor_-_or,_the_Spirit_of_Solitude
1.pbs_-_An_Exhortation
1.pbs_-_Arethusa
1.pbs_-_A_Tale_Of_Society_As_It_Is_-_From_Facts,_1811
1.pbs_-_A_Vision_Of_The_Sea
1.pbs_-_English_translationItalian
1.pbs_-_Fragment_-_Apostrophe_To_Silence
1.pbs_-_Fragment_-_"Igniculus_Desiderii"
1.pbs_-_Fragment_Of_A_Sonnet._Farewell_To_North_Devon
1.pbs_-_Fragment_Of_A_Sonnet_-_To_Harriet
1.pbs_-_Fragment_-_To_One_Singing
1.pbs_-_Good-Night
1.pbs_-_Hellas_-_A_Lyrical_Drama
1.pbs_-_Hymn_To_Mercury
1.pbs_-_Invocation_To_Misery
1.pbs_-_Lines_Written_Among_The_Euganean_Hills
1.pbs_-_Loves_Philosophy
1.pbs_-_Mont_Blanc_-_Lines_Written_In_The_Vale_of_Chamouni
1.pbs_-_Ode_To_Heaven
1.pbs_-_Ode_To_Liberty
1.pbs_-_Ode_To_Naples
1.pbs_-_On_An_Icicle_That_Clung_To_The_Grass_Of_A_Grave
1.pbs_-_On_Leaving_London_For_Wales
1.pbs_-_On_Robert_Emmets_Grave
1.pbs_-_Passage_Of_The_Apennines
1.pbs_-_Pater_Omnipotens
1.pbs_-_Prometheus_Unbound
1.pbs_-_Saint_Edmonds_Eve
1.pbs_-_Song_Of_Proserpine_While_Gathering_Flowers_On_The_Plain_Of_Enna
1.pbs_-_Sonnet_-_On_Launching_Some_Bottles_Filled_With_Knowledge_Into_The_Bristol_Channel
1.pbs_-_Sonnet_-_Political_Greatness
1.pbs_-_Sonnet_-_To_A_Balloon_Laden_With_Knowledge
1.pbs_-_Sonnet_To_Byron
1.pbs_-_Sonnet_--_Ye_Hasten_To_The_Grave!
1.pbs_-_Stanzas_Written_in_Dejection,_Near_Naples
1.pbs_-_Summer_And_Winter
1.pbs_-_The_Cyclops
1.pbs_-_The_Indian_Serenade
1.pbs_-_The_Mask_Of_Anarchy
1.pbs_-_The_Question
1.pbs_-_The_Retrospect_-_CWM_Elan,_1812
1.pbs_-_The_Sensitive_Plant
1.pbs_-_The_Solitary
1.pbs_-_The_Tower_Of_Famine
1.pbs_-_The_Wandering_Jews_Soliloquy
1.pbs_-_To_A_Skylark
1.pbs_-_To_Constantia
1.pbs_-_To_Death
1.pbs_-_To_Edward_Williams
1.pbs_-_To_Harriet_--_It_Is_Not_Blasphemy_To_Hope_That_Heaven
1.pbs_-_To_Jane_-_The_Invitation
1.pbs_-_To_Jane_-_The_Keen_Stars_Were_Twinkling
1.pbs_-_To_Night
1.pbs_-_To_The_Republicans_Of_North_America
1.pbs_-_To_William_Shelley.
1.poe_-_Eureka_-_A_Prose_Poem
1.poe_-_The_Bells
1.rb_-_Any_Wife_To_Any_Husband
1.rb_-_Bishop_Orders_His_Tomb_at_Saint_Praxed's_Church,_Rome,_The
1.rb_-_Fra_Lippo_Lippi
1.rb_-_Pauline,_A_Fragment_of_a_Question
1.rb_-_Pippa_Passes_-_Part_II_-_Noon
1.rb_-_Sordello_-_Book_the_Fifth
1.rb_-_Sordello_-_Book_the_Fourth
1.rb_-_Sordello_-_Book_the_Second
1.rb_-_The_Glove
1.rb_-_The_Pied_Piper_Of_Hamelin
1.rb_-_Waring
1.rt_-_Religious_Obsession_--_translation_from_Dharmamoha
1.snk_-_Nirvana_Shatakam
1.snt_-_As_soon_as_your_mind_has_experienced
1.srm_-_The_Marital_Garland_of_Letters
1.wby_-_The_Phases_Of_The_Moon
1.wby_-_To_A_Wealthy_Man_Who_Promised_A_Second_Subscription_To_The_Dublin_Municipal_Gallery_If_It_Were_Prove
1.wby_-_Vacillation
1.whitman_-_A_March_In_The_Ranks,_Hard-prest
1.whitman_-_As_Toilsome_I_Wanderd
1.whitman_-_Carol_Of_Occupations
1.whitman_-_Inscription
1.whitman_-_Prayer_Of_Columbus
1.whitman_-_Song_of_Myself
1.whitman_-_Song_Of_Myself-_XV
1.ww_-_7-_The_White_Doe_Of_Rylstone,_Or,_The_Fate_Of_The_Nortons
1.ww_-_After-Thought
1.ww_-_Book_Seventh_[Residence_in_London]
1.ww_-_Inscriptions_For_A_Seat_In_The_Groves_Of_Coleorton
1.ww_-_Inscriptions_In_The_Ground_Of_Coleorton,_The_Seat_Of_Sir_George_Beaumont,_Bart.,_Leicestershire
1.ww_-_Inscriptions_Written_with_a_Slate_Pencil_upon_a_Stone
1.ww_-_The_Excursion-_IV-_Book_Third-_Despondency
1.ww_-_The_Excursion-_VII-_Book_Sixth-_The_Churchyard_Among_the_Mountains
1.ww_-_The_Recluse_-_Book_First
1.ww_-_There_Was_A_Boy
1.ww_-_The_Simplon_Pass
1.ww_-_The_Vaudois
20.01_-_Charyapada_-_Old_Bengali_Mystic_Poems
2.00_-_BIBLIOGRAPHY
2.01_-_AT_THE_STAR_THEATRE
2.01_-_Habit_1__Be_Proactive
2.01_-_On_Books
2.01_-_THE_ARCANE_SUBSTANCE_AND_THE_POINT
2.01_-_The_Object_of_Knowledge
2.01_-_The_Road_of_Trials
2.01_-_The_Two_Natures
2.01_-_The_Yoga_and_Its_Objects
2.02_-_Brahman,_Purusha,_Ishwara_-_Maya,_Prakriti,_Shakti
2.02_-_Habit_2__Begin_with_the_End_in_Mind
2.02_-_Meeting_With_the_Goddess
2.02_-_The_Ishavasyopanishad_with_a_commentary_in_English
2.02_-_THE_SCINTILLA
2.02_-_The_Status_of_Knowledge
2.03_-_Karmayogin__A_Commentary_on_the_Isha_Upanishad
2.03_-_On_Medicine
2.03_-_THE_ENIGMA_OF_BOLOGNA
2.03_-_THE_MASTER_IN_VARIOUS_MOODS
2.03_-_The_Naturalness_of_Bhakti-Yoga_and_its_Central_Secret
2.03_-_The_Purified_Understanding
2.03_-_The_Supreme_Divine
2.04_-_ADVICE_TO_ISHAN
2.04_-_The_Divine_and_the_Undivine
2.05_-_Habit_3__Put_First_Things_First
2.05_-_On_Poetry
2.05_-_The_Cosmic_Illusion;_Mind,_Dream_and_Hallucination
2.05_-_VISIT_TO_THE_SINTHI_BRAMO_SAMAJ
2.06_-_Reality_and_the_Cosmic_Illusion
2.06_-_WITH_VARIOUS_DEVOTEES
2.07_-_BANKIM_CHANDRA
2.07_-_I_Also_Try_to_Tell_My_Tale
2.07_-_On_Congress_and_Politics
2.07_-_The_Knowledge_and_the_Ignorance
2.07_-_The_Mother__Relations_with_Others
2.08_-_ALICE_IN_WONDERLAND
2.08_-_AT_THE_STAR_THEATRE_(II)
2.08_-_God_in_Power_of_Becoming
2.08_-_The_Sword
2.09_-_THE_MASTERS_BIRTHDAY
2.09_-_The_Release_from_the_Ego
2.0_-_Reincarnation_and_Karma
2.0_-_THE_ANTICHRIST
2.1.01_-_God_The_One_Reality
2.1.02_-_Combining_Work,_Meditation_and_Bhakti
2.1.02_-_Nature_The_World-Manifestation
2.10_-_THE_MASTER_AND_NARENDRA
2.10_-_The_Vision_of_the_World-Spirit_-_Time_the_Destroyer
2.11_-_The_Boundaries_of_the_Ignorance
2.11_-_The_Modes_of_the_Self
2.11_-_WITH_THE_DEVOTEES_IN_CALCUTTA
2.12_-_On_Miracles
2.12_-_The_Robe
2.1.3.3_-_Reading
2.13_-_Exclusive_Concentration_of_Consciousness-Force_and_the_Ignorance
2.13_-_On_Psychology
2.13_-_Psychic_Presence_and_Psychic_Being_-_Real_Origin_of_Race_Superiority
2.13_-_THE_MASTER_AT_THE_HOUSES_OF_BALARM_AND_GIRISH
2.14_-_AT_RAMS_HOUSE
2.1.4_-_The_Lower_Vital_Being
2.14_-_The_Unpacking_of_God
2.15_-_On_the_Gods_and_Asuras
2.15_-_Reality_and_the_Integral_Knowledge
2.16_-_The_Integral_Knowledge_and_the_Aim_of_Life;_Four_Theories_of_Existence
2.16_-_VISIT_TO_NANDA_BOSES_HOUSE
2.1.7.07_-_On_the_Verse_and_Structure_of_the_Poem
2.1.7.08_-_Comments_on_Specific_Lines_and_Passages_of_the_Poem
2.17_-_December_1938
2.17_-_THE_MASTER_ON_HIMSELF_AND_HIS_EXPERIENCES
2.18_-_January_1939
2.18_-_SRI_RAMAKRISHNA_AT_SYAMPUKUR
2.19_-_THE_MASTER_AND_DR._SARKAR
2.2.01_-_Work_and_Yoga
2.2.02_-_Consciousness_and_the_Inconscient
2.2.03_-_The_Psychic_Being
2.2.03_-_The_Science_of_Consciousness
2.20_-_Chance
2.20_-_Nov-Dec_1939
2.20_-_The_Infancy_and_Maturity_of_ZO,_Father_and_Mother,_Israel_The_Ancient_and_Understanding
2.20_-_THE_MASTERS_TRAINING_OF_HIS_DISCIPLES
2.21_-_1940
2.21_-_IN_THE_COMPANY_OF_DEVOTEES_AT_SYAMPUKUR
2.21_-_The_Ladder_of_Self-transcendence
2.2.1_-_The_Prusna_Upanishads
2.21_-_The_Three_Heads,_The_Beard_and_The_Mazela
2.21_-_Towards_the_Supreme_Secret
2.22_-_1941-1943
2.23_-_The_Core_of_the_Gita.s_Meaning
2.23_-_THE_MASTER_AND_BUDDHA
2.2.4_-_Taittiriya_Upanishad
2.25_-_AFTER_THE_PASSING_AWAY
2.25_-_The_Triple_Transformation
2.26_-_Samadhi
2.26_-_The_Ascent_towards_Supermind
2.27_-_The_Gnostic_Being
2.28_-_The_Divine_Life
2.3.01_-_The_Planes_or_Worlds_of_Consciousness
2.3.02_-_Mantra_and_Japa
2.3.06_-_The_Mind
2.30_-_The_Uniting_of_the_Names_45_and_52
2.3.1.01_-_Three_Essentials_for_Writing_Poetry
2.3.1.08_-_The_Necessity_and_Nature_of_Inspiration
2.3.1.10_-_Inspiration_and_Effort
2.3.1.20_-_Aspiration
2.3.1.52_-_The_Ode
2.3.1_-_Ego_and_Its_Forms
24.05_-_Vision_of_Dante
29.03_-_In_Her_Company
2_-_Other_Hymns_to_Agni
3.00.1_-_Foreword
3.00.2_-_Introduction
30.03_-_Spirituality_in_Art
30.09_-_Lines_of_Tantra_(Charyapada)
30.11_-_Modern_Poetry
30.17_-_Rabindranath,_Traveller_of_the_Infinite
3.01_-_The_Mercurial_Fountain
3.02_-_King_and_Queen
3.02_-_Mysticism
3.02_-_The_Practice_Use_of_Dream-Analysis
3.02_-_The_Psychology_of_Rebirth
3.02_-_The_Soul_in_the_Soul_World_after_Death
3.03_-_SULPHUR
3.03_-_The_Naked_Truth
3.03_-_The_Spirit_Land
3.04_-_LUNA
3.05_-_SAL
3.05_-_The_Formula_of_I.A.O.
3.06_-_The_Sage
3.06_-_Thought-Forms_and_the_Human_Aura
3.07.5_-_Who_Am_I?
3.07_-_The_Ananda_Brahman
3.07_-_The_Ascent_of_the_Soul
3.1.04_-_Transformation_in_the_Integral_Yoga
31.05_-_Vivekananda
3.10_-_Of_the_Gestures
3.11_-_Epilogue
3.12_-_Of_the_Bloody_Sacrifice
3.14_-_Of_the_Consecrations
3.16_-_THE_SEVEN_SEALS_OR_THE_YES_AND_AMEN_SONG
3.18_-_Of_Clairvoyance_and_the_Body_of_Light
3.2.02_-_The_Veda_and_the_Upanishads
3.2.02_-_Yoga_and_Skill_in_Works
32.03_-_In_This_Crisis
3.2.03_-_To_the_Ganges
3.2.04_-_Suddenly_out_from_the_wonderful_East
32.04_-_The_Human_Body
32.05_-_The_Culture_of_the_Body
3.2.07_-_Tantra
3.2.08_-_Bhakti_Yoga_and_Vaishnavism
3.2.09_-_The_Teachings_of_Some_Modern_Indian_Yogis
3.20_-_Of_the_Eucharist
3.2.10_-_Christianity_and_Theosophy
3.2.3_-_Dreams
33.03_-_Muraripukur_-_I
33.06_-_Alipore_Court
33.10_-_Pondicherry_I
33.13_-_My_Professors
33.14_-_I_Played_Football
33.15_-_My_Athletics
33.17_-_Two_Great_Wars
33.18_-_I_Bow_to_the_Mother
3.3.1_-_Illness_and_Health
3.3.2_-_Doctors_and_Medicines
3.3.3_-_Specific_Illnesses,_Ailments_and_Other_Physical_Problems
3.4.02_-_The_Inconscient
3.4.1.01_-_Poetry_and_Sadhana
3.4.1_-_The_Subconscient_and_the_Integral_Yoga
3.5.03_-_Reason_and_Society
3-5_Full_Circle
36.07_-_An_Introduction_To_The_Vedas
3.7.1.02_-_The_Reincarnating_Soul
3.7.1.07_-_Involution_and_Evolution
3.8.1.02_-_Arya_-_Its_Significance
3.8.1.04_-_Different_Methods_of_Writing
3.8.1.05_-_Occult_Knowledge_and_the_Hindu_Scriptures
3_-_Commentaries_and_Annotated_Translations
4.01_-_INTRODUCTION
4.01_-_Introduction
4.01_-_The_Principle_of_the_Integral_Yoga
4.02_-_Autobiographical_Evidence
4.02_-_The_Integral_Perfection
4.03_-_Prayer_to_the_Ever-greater_Christ
4.03_-_THE_ULTIMATE_EARTH
4.04_-_Conclusion
4.04_-_THE_REGENERATION_OF_THE_KING
4.05_-_THE_DARK_SIDE_OF_THE_KING
4.07_-_THE_RELATION_OF_THE_KING-SYMBOL_TO_CONSCIOUSNESS
4.08_-_The_Liberation_of_the_Spirit
4.0_-_NOTES_TO_ZARATHUSTRA
4.0_-_The_Path_of_Knowledge
4.1.01_-_The_Intellect_and_Yoga
4.1.1_-_The_Difficulties_of_Yoga
4.11_-_The_Perfection_of_Equality
4.12_-_The_Way_of_Equality
4.1.3_-_Imperfections_and_Periods_of_Arrest
4.18_-_Faith_and_shakti
4.1_-_Jnana
4.2.1.05_-_The_Psychic_Awakening
4.22_-_The_supramental_Thought_and_Knowledge
4.24_-_The_supramental_Sense
4.25_-_Towards_the_supramental_Time_Vision
4.2_-_Karma
4.3.1_-_The_Hostile_Forces_and_the_Difficulties_of_Yoga
4.3.2.09_-_Overmind_Experiences_and_the_Supermind
4.3_-_Bhakti
4.4.1.07_-_Experiences_of_Ascent_and_Descent
4.4.2.01_-_Contact_with_the_Above
4.4.2.08_-_Fixing_the_Consciousness_Above
4.4.5.02_-_Descent_and_Psychic_Experiences
5.01_-_ADAM_AS_THE_ARCANE_SUBSTANCE
5.01_-_EPILOGUE
5.02_-_Perfection_of_the_Body
5.02_-_THE_STATUE
5.03_-_ADAM_AS_THE_FIRST_ADEPT
5.04_-_THE_POLARITY_OF_ADAM
5.05_-_Supermind_and_Humanity
5.05_-_The_War
5.06_-_THE_TRANSFORMATION
5.08_-_ADAM_AS_TOTALITY
5.1.01.1_-_The_Book_of_the_Herald
5.1.01.9_-_Book_IX
5.1.01_-_Ilion
5.1.01_-_Terminology
5.1.02_-_Ahana
5.1.03_-_The_Hostile_Forces_and_Hostile_Beings
5.4.02_-_Occult_Powers_or_Siddhis
5_-_The_Phenomenology_of_the_Spirit_in_Fairytales
6.01_-_THE_ALCHEMICAL_VIEW_OF_THE_UNION_OF_OPPOSITES
6.02_-_STAGES_OF_THE_CONJUNCTION
6.06_-_SELF-KNOWLEDGE
6.07_-_THE_MONOCOLUS
6.08_-_THE_CONTENT_AND_MEANING_OF_THE_FIRST_TWO_STAGES
6.0_-_Conscious,_Unconscious,_and_Individuation
6.10_-_THE_SELF_AND_THE_BOUNDS_OF_KNOWLEDGE
7_-_Yoga_of_Sri_Aurobindo
9.99_-_Glossary
Aeneid
Apology
Appendix_4_-_Priest_Spells
APPENDIX_I_-_Curriculum_of_A._A.
A_Secret_Miracle
Averroes_Search
Big_Mind_(ten_perfections)
Blazing_P1_-_Preconventional_consciousness
Blazing_P2_-_Map_the_Stages_of_Conventional_Consciousness
Blazing_P3_-_Explore_the_Stages_of_Postconventional_Consciousness
BOOK_I._-_Augustine_censures_the_pagans,_who_attributed_the_calamities_of_the_world,_and_especially_the_sack_of_Rome_by_the_Goths,_to_the_Christian_religion_and_its_prohibition_of_the_worship_of_the_gods
BOOK_II._-_A_review_of_the_calamities_suffered_by_the_Romans_before_the_time_of_Christ,_showing_that_their_gods_had_plunged_them_into_corruption_and_vice
BOOK_III._-_The_external_calamities_of_Rome
BOOK_II._--_PART_I._ANTHROPOGENESIS.
BOOK_II._--_PART_III._ADDENDA._SCIENCE_AND_THE_SECRET_DOCTRINE_CONTRASTED
BOOK_II._--_PART_II._THE_ARCHAIC_SYMBOLISM_OF_THE_WORLD-RELIGIONS
BOOK_I._--_PART_I._COSMIC_EVOLUTION
BOOK_I._--_PART_III._SCIENCE_AND_THE_SECRET_DOCTRINE_CONTRASTED
BOOK_I._--_PART_II._THE_EVOLUTION_OF_SYMBOLISM_IN_ITS_APPROXIMATE_ORDER
BOOK_IV._-_That_empire_was_given_to_Rome_not_by_the_gods,_but_by_the_One_True_God
BOOK_IX._-_Of_those_who_allege_a_distinction_among_demons,_some_being_good_and_others_evil
Book_of_Exodus
Book_of_Genesis
Book_of_Imaginary_Beings_(text)
Book_of_Proverbs
Book_of_Psalms
BOOK_VIII._-_Some_account_of_the_Socratic_and_Platonic_philosophy,_and_a_refutation_of_the_doctrine_of_Apuleius_that_the_demons_should_be_worshipped_as_mediators_between_gods_and_men
BOOK_VII._-_Of_the_select_gods_of_the_civil_theology,_and_that_eternal_life_is_not_obtained_by_worshipping_them
BOOK_V._-_Of_fate,_freewill,_and_God's_prescience,_and_of_the_source_of_the_virtues_of_the_ancient_Romans
BOOK_XI._-_Augustine_passes_to_the_second_part_of_the_work,_in_which_the_origin,_progress,_and_destinies_of_the_earthly_and_heavenly_cities_are_discussed.Speculations_regarding_the_creation_of_the_world
BOOK_XIII._-_That_death_is_penal,_and_had_its_origin_in_Adam's_sin
BOOK_XII._-_Of_the_creation_of_angels_and_men,_and_of_the_origin_of_evil
BOOK_XIV._-_Of_the_punishment_and_results_of_mans_first_sin,_and_of_the_propagation_of_man_without_lust
BOOK_XIX._-_A_review_of_the_philosophical_opinions_regarding_the_Supreme_Good,_and_a_comparison_of_these_opinions_with_the_Christian_belief_regarding_happiness
BOOK_X._-_Porphyrys_doctrine_of_redemption
BOOK_XVIII._-_A_parallel_history_of_the_earthly_and_heavenly_cities_from_the_time_of_Abraham_to_the_end_of_the_world
BOOK_XVII._-_The_history_of_the_city_of_God_from_the_times_of_the_prophets_to_Christ
BOOK_XVI._-_The_history_of_the_city_of_God_from_Noah_to_the_time_of_the_kings_of_Israel
BOOK_XV._-_The_progress_of_the_earthly_and_heavenly_cities_traced_by_the_sacred_history
BOOK_XXII._-_Of_the_eternal_happiness_of_the_saints,_the_resurrection_of_the_body,_and_the_miracles_of_the_early_Church
BOOK_XXI._-_Of_the_eternal_punishment_of_the_wicked_in_hell,_and_of_the_various_objections_urged_against_it
BOOK_XX._-_Of_the_last_judgment,_and_the_declarations_regarding_it_in_the_Old_and_New_Testaments
BS_1_-_Introduction_to_the_Idea_of_God
COSA_-_BOOK_I
COSA_-_BOOK_III
COSA_-_BOOK_IX
COSA_-_BOOK_V
COSA_-_BOOK_VI
COSA_-_BOOK_VII
COSA_-_BOOK_VIII
COSA_-_BOOK_XI
COSA_-_BOOK_XII
COSA_-_BOOK_XIII
Cratylus
Diamond_Sutra_1
ENNEAD_02.09_-_Against_the_Gnostics;_or,_That_the_Creator_and_the_World_are_Not_Evil.
ENNEAD_03.02_-_Of_Providence.
ENNEAD_03.07_-_Of_Time_and_Eternity.
ENNEAD_03.08b_-_Of_Nature,_Contemplation_and_Unity.
ENNEAD_04.02_-_How_the_Soul_Mediates_Between_Indivisible_and_Divisible_Essence.
ENNEAD_04.08_-_Of_the_Descent_of_the_Soul_Into_the_Body.
ENNEAD_05.08_-_Concerning_Intelligible_Beauty.
ENNEAD_06.04_-_The_One_Identical_Essence_is_Everywhere_Entirely_Present.
ENNEAD_06.05_-_The_One_and_Identical_Being_is_Everywhere_Present_In_Its_Entirety.345
ENNEAD_06.07_-_How_Ideas_Multiplied,_and_the_Good.
ENNEAD_06.08_-_Of_the_Will_of_the_One.
ENNEAD_06.09_-_Of_the_Good_and_the_One.
Epistle_to_the_Romans
Euthyphro
First_Epistle_of_Paul_to_the_Thessalonians
For_a_Breath_I_Tarry
Gods_Script
Gorgias
Guru_Granth_Sahib_first_part
Ion
IS_-_Chapter_1
Jaap_Sahib_Text_(Guru_Gobind_Singh)
Liber
Liber_111_-_The_Book_of_Wisdom_-_LIBER_ALEPH_VEL_CXI
Liber_46_-_The_Key_of_the_Mysteries
Liber_71_-_The_Voice_of_the_Silence_-_The_Two_Paths_-_The_Seven_Portals
Medea_-_A_Vergillian_Cento
Meno
MoM_References
Partial_Magic_in_the_Quixote
Phaedo
Prayers_and_Meditations_by_Baha_u_llah_text
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r1915_05_24
r1915_06_03
r1915_06_07
r1915_06_08
r1915_06_13
r1915_06_27
r1915_07_01
r1915_08_01
r1915_08_03
r1915_08_07
r1915_08_09
r1916_02_20
r1916_03_13
r1916_03_19
r1917_01_09
r1917_01_21
r1917_01_22
r1917_01_23a
r1917_01_26
r1917_01_27
r1917_01_30
r1917_02_01
r1917_02_02
r1917_02_03
r1917_02_04
r1917_02_05
r1917_02_06
r1917_02_10
r1917_02_11
r1917_02_15
r1917_03_10
r1917_03_14
r1917_03_15
r1917_03_18
r1917_03_20
r1917_08_15
r1917_08_20
r1917_08_21
r1917_08_22
r1917_08_25
r1917_08_26
r1917_09_08
r1918_02_17
r1918_02_21
r1918_04_20
r1918_05_04
r1918_05_07
r1918_05_08
r1918_05_09
r1918_05_10
r1918_05_11
r1918_05_12
r1918_05_13
r1918_05_14
r1918_05_15
r1918_05_17
r1918_05_18
r1918_05_19
r1918_05_21
r1918_06_14
r1919_06_28
r1919_07_02
r1919_07_03
r1919_07_07
r1919_07_09
r1919_07_10
r1919_07_11
r1919_07_18
r1919_07_20
r1919_07_26
r1919_07_30
r1919_07_31
r1919_08_03
r1919_08_04
r1919_08_27
r1920_02_04
r1920_02_07a
r1920_02_19
r1920_02_24
r1920_02_28
r1920_02_29
r1920_03_02
r1920_03_06
r1920_03_07
r1920_03_13
r1920_06_07
r1920_06_08
r1920_06_17
r1920_06_21
r1920_06_26
r1927_01_12
r1927_01_15
r1927_01_17
r1927_01_19
r1927_01_27
r1927_04_07
r1927_10_25
Sayings_of_Sri_Ramakrishna_(text)
SB_1.1_-_Questions_by_the_Sages
Sophist
Story_of_the_Warrior_and_the_Captive
Symposium_translated_by_B_Jowett
Tablets_of_Baha_u_llah_text
Talks_001-025
Talks_026-050
Talks_051-075
Talks_076-099
Talks_125-150
Talks_176-200
Talks_225-239
Talks_500-550
Talks_600-652
Talks_With_Sri_Aurobindo_1
Talks_With_Sri_Aurobindo_2
The_Act_of_Creation_text
Theaetetus
The_Aleph
The_Anapanasati_Sutta__A_Practical_Guide_to_Mindfullness_of_Breathing_and_Tranquil_Wisdom_Meditation
The_Book_of_Certitude_-_P1
The_Book_of_Certitude_-_P2
The_Book_of_Job
The_Book_of_Joshua
The_Book_of_Sand
The_Book_of_the_Prophet_Isaiah
The_Book_of_the_Prophet_Micah
The_Book_of_Wisdom
The_Divine_Names_Text_(Dionysis)
The_Dwellings_of_the_Philosophers
The_Epistle_of_James
The_Epistle_of_Paul_to_the_Ephesians
The_Epistle_of_Paul_to_the_Philippians
the_Eternal_Wisdom
The_Fearful_Sphere_of_Pascal
The_First_Epistle_of_Paul_to_the_Corinthians
The_First_Epistle_of_Paul_to_Timothy
The_First_Epistle_of_Peter
The_First_Letter_of_John
The_Garden_of_Forking_Paths_1
The_Garden_of_Forking_Paths_2
The_Gold_Bug
The_Gospel_According_to_John
The_Gospel_According_to_Luke
The_Gospel_According_to_Mark
The_Gospel_According_to_Matthew
The_Gospel_of_Thomas
The_Immortal
The_Letter_to_the_Hebrews
The_Library_of_Babel
The_Library_Of_Babel_2
The_Lottery_in_Babylon
The_Mirror_of_Enigmas
The_One_Who_Walks_Away
The_Pilgrims_Progress
The_Revelation_of_Jesus_Christ_or_the_Apocalypse
The_Riddle_of_this_World
The_Second_Epistle_of_John
The_Second_Epistle_of_Paul_to_Timothy
The_Second_Epistle_of_Peter
The_Shadow_Out_Of_Time
The_Theologians
The_Third_Letter_of_John
The_Wall_and_the_BOoks
Thus_Spoke_Zarathustra_text
Timaeus
Verses_of_Vemana

PRIMARY CLASS

knowledge
media
script
the_Word
SIMILAR TITLES
cwsa (descriptions)
Eloquent Javascript
Inscription on Faith in Mind - One is All
Inscription on Trust in the Mind
New World Translation of the Holy Scriptures
script
scripture
short descriptions
The Holy Teaching of Vimalakirti A Mahayana Scripture
transcripts
Treasure Trove of Scriptural Transmission A Commentary on the Precious Treasury of the Basic Space of Phenomena
wikipedia - a - links with description
wikipedia - b - links with description
wikipedia - c - links with description
wikipedia - d - links with description
wikipedia - e - links with description
wikipedia - f - links with description
wikipedia - g - links with description
wikipedia - h - links with description
wikipedia - i - links with description
wikipedia - j - links with description
wikipedia - k - links with description
wikipedia - l - links with description
wikipedia - m - links with description
wikipedia - n - links with description
wikipedia - num - links with description
wikipedia - o - links with description
wikipedia - p - links with description
wikipedia - q - links with description
wikipedia - r - links with description
wikipedia - s - links with description
wikipedia - t - links with description
wikipedia - u - links with description
wikipedia - v - links with description
wikipedia - w - links with description
wikipedia - x - links with description
wikipedia - y - links with description
wikipedia - z - links with description
Zen Scriptures

DEFINITIONS


TERMS STARTING WITH

script ::: 1. A kind of writing, a system of alphabetical or other written characters. 2. Handwriting, esp. cursive writing, the characters used in hand-writing (as distinguished from print). 3. A manuscript or document. 4. A manuscript or written text of a play, motion picture, etc. scripts.

script ::: communication from a divine or other source, usually received through a process resembling automatic writing.

scripting language "language" (Or "glue language") A loose term for any language that is {weakly typed} or {untyped} and has little or no provision for complex {data structures}. A program in a scripting language (a "{script}") is often {interpreted} (but see {Ousterhout's dichotomy}). Scripts typically interact either with other programs (often as {glue}) or with a set of functions provided by the interpreter, as with the {file system} functions provided in a {UNIX shell} and with {Tcl}'s {GUI} functions. Prototypical scripting languages are {AppleScript}, {C Shell}, {MS-DOS} {batch files} and {Tcl}. (2001-03-06)

scripting language ::: (language) (Or glue language) A loose term for any language that is weakly typed or untyped and has little or no provision for complex data structures. A program in a scripting language (a script) is often interpreted (but see Ousterhout's dichotomy).Scripts typically interact either with other programs (often as glue) or with a set of functions provided by the interpreter, as with the file system functions provided in a UNIX shell and with Tcl's GUI functions. Prototypical scripting languages are AppleScript, C Shell, MSDOS batch files, and Tcl.(2001-03-06)

script "language" A program written in a {scripting language}, but see {Ousterhout's dichotomy}. (1999-02-22)

script ::: (language) A program written in a scripting language, but see Ousterhout's dichotomy. (1999-02-22)

script ::: n. --> A writing; a written document.
Type made in imitation of handwriting.
An original instrument or document.
Written characters; style of writing.


scriptoria ::: pl. --> of Scriptorium

scriptorium: A location often in a church or monastery where manuscripts are studied and stored.

scriptorium ::: n. --> In an abbey or monastery, the room set apart for writing or copying manuscripts; in general, a room devoted to writing.

scriptory ::: a. --> Of or pertaining to writing; expressed in writing; used in writing; as, scriptory wills; a scriptory reed.

scripts, or even early copies; the writings accredited to him have come down to us in a hopelessly

scriptural ::: a. --> Contained in the Scriptures; according to the Scriptures, or sacred oracles; biblical; as, a scriptural doctrine.

scripturalism ::: n. --> The quality or state of being scriptural; literal adherence to the Scriptures.

scripturalist ::: n. --> One who adheres literally to the Scriptures.

scripturally ::: adv. --> In a scriptural manner.

scripturalness ::: n. --> Quality of being scriptural.

scriptural ::: of, pertaining to, or in accordance with sacred writings.

scripture ::: 1. Any writing or book, esp. when of a sacred or religious nature. 2. Written characters.

scripture ::: n. --> Anything written; a writing; a document; an inscription.
The books of the Old and the new Testament, or of either of them; the Bible; -- used by way of eminence or distinction, and chiefly in the plural.
A passage from the Bible;; a text.


scripture, nine/twelves divisions of. See NAVAnGA[PĀVACANA]; DVĀDAsĀnGA[PRAVACANA].

scripture, nine/twelves divisions of

scripturian ::: n. --> A Scripturist.

scripturist ::: n. --> One who is strongly attached to, or versed in, the Scriptures, or who endeavors to regulate his life by them.

SCRIPT 1. An early system on the {IBM 702}. [Listed in CACM 2(5):16 (May 1959)]. 2. A {real-time} language. ["A Communication Abstraction Mechanism and its Verification", N. Francez et al, Sci Comp Prog 6(1):35-88 (1986)]. (1994-12-01)

Scriptics ::: (company) John Ousterhout's company that is the home of Tcl development and the TclPro tool suite. . (1998-11-27)

Scriptics "company" {John Ousterhout}'s company that is the home of {Tcl} development and the {TclPro} tool suite. {(http://scriptics.com/)}. (1998-11-27)

Scripture. 1

Scripture and Talmud. Rahab was destroyed

Scripture, as a consequence, were conceived of as male. 31 However, it was not long before the

Scripture as the 1st temptress, as Adam’s demon

Scripture, canonical in Catholic). In The Book of

Scriptures ::: General designation for canonical or biblical writings.

Scriptures. Hartford, Conn.: The S. S. Scranton Co.

Scripture Wonderful


TERMS ANYWHERE

1. To give light to; illuminate; shine on. 2. Make lighter or brighter. 3. To bestow spiritual enlightenment. 4. To enlighten, as with knowledge. 5. To make lucid or clear; throw light on (a subject). 6. To make resplendent or illustrious. 7. To decorate (a manuscript, book, etc.) with colours and gold or silver, as was often done in the Middle Ages. illumines, illumined, illumining, half-illumined.

  A body of mystical Jewish teachings based on an interpretation of hidden meanings in the Hebrew Scriptures. Among its central doctrines are, all creation is an emanation from the Deity and the soul exists from eternity. 2. Any secret or occult doctrine or science. 3.”Esoteric system of interpretation of the Hebrew scriptures based on the assumption that every word, letter, number, and accent in them has an occult meaning. The system, oral at first, claimed great antiquity, but was really the product of the Middle Ages, arising in the 7th century and lasting into the 18th. It was popular chiefly among Jews, but spread to Christians as well. (Col. Enc). Glossary and Index of Proper Names in Sri Aurobindo’s Works

ascript ::: a. --> See Adscript.

ascription ::: n. --> The act of ascribing, imputing, or affirming to belong; also, that which is ascribed.

ascriptitious ::: a. --> Ascribed.
Added; additional.


account ::: n. 1. A record of debts and credits, applied to other things than money or trade. 2. A particular statement or narrative of an event or thing; a relation, report, or description. v. 3. To render an account or reckoning of; to give a satisfactory reason for, to give an explanation.

adscript ::: a. --> Held to service as attached to the soil; -- said of feudal serfs. ::: n. --> One held to service as attached to the glebe or estate; a feudal serf.

adscriptive ::: a. --> Attached or annexed to the glebe or estate and transferable with it.

adjuvant ::: n. --> A substance added to an immunogenic agent to enhance the production of antibodies.
A substance added to a formulation of a drug which enhances the effect of the active ingredient.
An assistant.
An ingredient, in a prescription, which aids or modifies the action of the principal ingredient.


aerography ::: n. --> A description of the air or atmosphere; aerology.

agamas. ::: Saiva scriptures that describe the rules and procedures for image worship, which include temple construction, installation and consecration of the deities, methods of performing pujas in the temples, philosophy, recitation of mantras, worship involving figures or yantras and bhakti yoga

aggravate ::: v. t. --> To make heavy or heavier; to add to; to increase.
To make worse, or more severe; to render less tolerable or less excusable; to make more offensive; to enhance; to intensify.
To give coloring to in description; to exaggerate; as, to aggravate circumstances.
To exasperate; to provoke; to irritate.


agriology ::: n. --> Description or comparative study of the customs of savage or uncivilized tribes.

agrostography ::: n. --> A description of the grasses.

alcoran ::: n. --> The Mohammedan Scriptures; the Koran (now the usual form).

algebra ::: the branch of mathematics that deals with general statements of relations, utilizing letters and other symbols to represent specific sets of numbers, values, vectors, etc., in the description of such relations. 2. Any special system of notation adapted to the study of a special system of relationship.

alkoran ::: n. --> The Mohammedan Scriptures. Same as Alcoran and Koran.

alluminor ::: n. --> An illuminator of manuscripts and books; a limner.

Amal: “I think it is just a general descriptive expression and does not connote any mysterious entity.”

Amal: I think”Titan” here means”huge”. In the original manuscript there is a small t, not a capital T.”

amplification ::: n. --> The act of amplifying or enlarging in dimensions; enlargement; extension.
The enlarging of a simple statement by particularity of description, the use of epithets, etc., for rhetorical effect; diffuse narrative or description, or a dilating upon all the particulars of a subject.
The matter by which a statement is amplified; as, the subject was presented without amplifications.


anagogics ::: n. pl. --> Mystical interpretations or studies, esp. of the Scriptures.

And these are in fact always acting upon our subliminal selves unknown to our vvaking mind and with considerable effect on our life and nature. The physical mind is only a little part of us and there is much more considerable range of our being in which the presence, infiuence and powers of the other planes are active upon us and help to shape our external being and its activities. The awakening of the psychical consciousness enables us fb become aware of these powers, presences and influences in and around us ; and while in the impure or yet ignorant and imperfect mind this unveiled contact has its dangers, it enables us too, if lightly used and directed, to be no longer their subject but their master and to coroe into conscious and seJf-confroJled possession of the inner secrets of our nature. The psychical consciousness reveals this interaction between the inner and the outer planes, this world and others, partly by an awareness, which may be very constant, vast and vivid, of their impacts, suggestions, communications to our inner thought and conscious being and a capacity of reaction upon them there, partly ako through many kinds of symbolic, transcriptive or representative images presented to the different psychical senses. But also

anemography ::: n. --> A description of the winds.
The art of recording the direction and force of the wind, as by means of an anemograph.


angel ::: n. --> A messenger.
A spiritual, celestial being, superior to man in power and intelligence. In the Scriptures the angels appear as God&


angiography ::: n. --> A description of blood vessels and lymphatics.

anthem ::: n. --> Formerly, a hymn sung in alternate parts, in present usage, a selection from the Psalms, or other parts of the Scriptures or the liturgy, set to sacred music.
A song or hymn of praise. ::: v. t. --> To celebrate with anthems.


anthography ::: n. --> A description of flowers.

anthorism ::: n. --> A description or definition contrary to that which is given by the adverse party.

anthropomorphism ::: n. --> The representation of the Deity, or of a polytheistic deity, under a human form, or with human attributes and affections.
The ascription of human characteristics to things not human.


anthropomorphology ::: n. --> The application to God of terms descriptive of human beings.

anthropopathy ::: n. --> The ascription of human feelings or passions to God, or to a polytheistic deity.

antiscriptural ::: a. --> Opposed to, or not in accordance with, the Holy Scriptures.

antigraph ::: n. --> A copy or transcript.

antiquary ::: a. --> Pertaining to antiquity. ::: n. --> One devoted to the study of ancient times through their relics, as inscriptions, monuments, remains of ancient habitations, statues, coins, manuscripts, etc.; one who searches for and studies the relics of antiquity.

apocrypha ::: n. pl. --> Something, as a writing, that is of doubtful authorship or authority; -- formerly used also adjectively.
Specif.: Certain writings which are received by some Christians as an authentic part of the Holy Scriptures, but are rejected by others.


apograph ::: n. --> A copy or transcript.

apologetics ::: n. --> That branch of theology which defends the Holy Scriptures, and sets forth the evidence of their divine authority.

appendant ::: v. t. --> Hanging; annexed; adjunct; concomitant; as, a seal appendant to a paper.
Appended by prescription, that is, a personal usage for a considerable time; -- said of a thing of inheritance belonging to another inheritance which is superior or more worthy; as, an advowson, common, etc. , which may be appendant to a manor, common of fishing to a freehold, a seat in church to a house.


append ::: v. t. --> To hang or attach to, as by a string, so that the thing is suspended; as, a seal appended to a record; the inscription was appended to the column.
To add, as an accessory to the principal thing; to annex; as, notes appended to this chapter.


archaeography ::: n. --> A description of, or a treatise on, antiquity or antiquities.

archaeology ::: n. --> The science or study of antiquities, esp. prehistoric antiquities, such as the remains of buildings or monuments of an early epoch, inscriptions, implements, and other relics, written manuscripts, etc.

arteriography ::: n. --> A systematic description of the arteries.

arthrography ::: n. --> The description of joints.

“As to the two lines with ‘no man’s land’ there can be no capital in the first line because there it is a description while the capital is needed in the other line, because the phrase has acquired there the force of a name or appellation. I am not sure about the hyphen; it could be put but the no hyphen might be better as it suggests that no one in particular has as yet got possession.” Letters on Savitri.

astrography ::: n. --> The art of describing or delineating the stars; a description or mapping of the heavens.

ASURA. ::: Titan; a being of ignorant egoism as opposed to the Deva or god, who is a being of Light; sons of Darkness and Division.
Asuras are really the dark side of the mental, or more strictly, of the vital mind plane. This mind is the very field of the Asuras. Their main characteristic is egoistic strength and struggle, which refuse the higher law. The Asura has self-control, tapas, and intelligence, but all that for the sake of his ego.
There are no Asuras on the higher planes where the Truth prevails, except in the Vedic sense -“ the Divine in its strength “. The mental and vital Asuras are only a deviation of that power.
There are two kinds of Asuras - one kind were divine in their origin but have fallen from their divinity by self-will and opposition to the intention of the Divine; they are spoken in the Hindu scriptures as the former or earlier gods; these can be converted and their conversion is indeed necessary for the ultimate purpose of the universe. But the ordinary Asura is not of this character, is not an evolutionary but a typal being and represents a fixed principle of the creation which does not evolve or change and is not intended to do so. These Asuras, as also the other hostile beings, Rakshasas, Pishachas and others resemble the devils of the Christian tradition and oppose the divine intention and the evolutionary purpose in the human being; they don’t change the purpose in them for which they exist which is evil, but have to be destroyed like the evil. The Asura has no soul, no psychic being which has to evolve to a higher state; he has only an ego and usually a very powerful ego; he has a mind, sometimes even a highly intellectual mind; but the basis of his thinking and feeling is vital and not mental, at the service of his desire and not truth. He is a formation assumed by the life-principle for a particular kind of work and not a divine formation or soul.
Some kinds of Asuras are very religious, very fanatical about their religion, very strict about rules of ethical conduct. There are others who use spiritual ideas without believing in them to give them a perverted twist and delude the sadhaka.


:::   "A transcendent Bliss, unimaginable and inexpressible by the mind and speech, is the nature of the Ineffable. That broods immanent and secret in the whole universe and in everything in the universe. Its presence is described as a secret ether of the bliss of being, of which the Scripture says that, if this were not, none could for a moment breathe or live. And this spiritual bliss is here also in our hearts.” The Synthesis of Yoga

“A transcendent Bliss, unimaginable and inexpressible by the mind and speech, is the nature of the Ineffable. That broods immanent and secret in the whole universe and in everything in the universe. Its presence is described as a secret ether of the bliss of being, of which the Scripture says that, if this were not, none could for a moment breathe or live. And this spiritual bliss is here also in our hearts.” The Synthesis of Yoga

attestation ::: n. --> The act of attesting; testimony; witness; a solemn or official declaration, verbal or written, in support of a fact; evidence. The truth appears from the attestation of witnesses, or of the proper officer. The subscription of a name to a writing as a witness, is an attestation.

autograph ::: n. --> That which is written with one&

avesta ::: n. --> The Zoroastrian scriptures. See Zend-Avesta.

balneography ::: n. --> A description of baths.

bear ::: v. t. --> To support or sustain; to hold up.
To support and remove or carry; to convey.
To conduct; to bring; -- said of persons.
To possess and use, as power; to exercise.
To sustain; to have on (written or inscribed, or as a mark), as, the tablet bears this inscription.
To possess or carry, as a mark of authority or distinction; to wear; as, to bear a sword, badge, or name.


believer ::: n. --> One who believes; one who is persuaded of the truth or reality of some doctrine, person, or thing.
One who gives credit to the truth of the Scriptures, as a revelation from God; a Christian; -- in a more restricted sense, one who receives Christ as his Savior, and accepts the way of salvation unfolded in the gospel.
One who was admitted to all the rights of divine worship and instructed in all the mysteries of the Christian religion, in


Besides these transcriptions or impresses the psychical vision receives thought Images and other forms created by constant activity of consciousaess in ourselves or in other human beings, and these may be according to the character of the activity, images of truth or falsehood or else mixed things, partly true, partly false, and may be too either mere shells and representa- tions or images inspired wth a temporary life and consciousness and, it may be, canjing in them in one way or another some kind of beneficent or maleficent action or some willed or unwilled effectiveness on our minds or vital being or through them e^'cn on the body. These transcriptions, impresses, thought images, life images, projections of the consciousness may also be representa- tions or creations not of the physical wxtrJd, but of vital, psychic or mental worlds beyond us, seen in our own minds or projected from other than human beings. And as there is this psychical vision of which some of the more cxremaf ana’ ordinary marrr- festaUons arc well enough known by the name of clairvoyance, so there is a psychical hearing and psychical touch, taste, smell

bible ::: n. --> A book.
The Book by way of eminence, -- that is, the book which is made up of the writings accepted by Christians as of divine origin and authority, whether such writings be in the original language, or translated; the Scriptures of the Old and New Testaments; -- sometimes in a restricted sense, the Old Testament; as, King James&


biblicist ::: n. --> One skilled in the knowledge of the Bible; a demonstrator of religious truth by the Scriptures.

bibliography ::: n. --> A history or description of books and manuscripts, with notices of the different editions, the times when they were printed, etc.

bibliolatry ::: n. --> Book worship, esp. of the Bible; -- applied by Roman Catholic divines to the exaltation of the authority of the Bible over that of the pope or the church, and by Protestants to an excessive regard to the letter of the Scriptures.

bibliomancy ::: n. --> A kind of divination, performed by selecting passages of Scripture at hazard, and drawing from them indications concerning future events.

bilingual ::: a. --> Containing, or consisting of, two languages; expressed in two languages; as, a bilingual inscription; a bilingual dictionary.

black book ::: --> One of several books of a political character, published at different times and for different purposes; -- so called either from the color of the binding, or from the character of the contents.
A book compiled in the twelfth century, containing a description of the court of exchequer of England, an official statement of the revenues of the crown, etc.
A book containing details of the enormities practiced in the English monasteries and religious houses, compiled by order of


black-letter ::: a. --> Written or printed in black letter; as, a black-letter manuscript or book.
Given to the study of books in black letter; that is, of old books; out of date.
Of or pertaining to the days in the calendar not marked with red letters as saints&


black letter ::: --> The old English or Gothic letter, in which the Early English manuscripts were written, and the first English books were printed. It was conspicuous for its blackness. See Type.

blazon ::: n. --> A shield.
An heraldic shield; a coat of arms, or a bearing on a coat of arms; armorial bearings.
The art or act of describing or depicting heraldic bearings in the proper language or manner.
Ostentatious display, either by words or other means; publication; show; description; record.


blazon ::: the description or representation of a coat of arms or banner bearing the symbol of a coat of arms.

blotting paper ::: --> A kind of thick, bibulous, unsized paper, used to absorb superfluous ink from freshly written manuscript, and thus prevent blots.

blunder ::: v. i. --> To make a gross error or mistake; as, to blunder in writing or preparing a medical prescription.
To move in an awkward, clumsy manner; to flounder and stumble. ::: v. t. --> To cause to blunder.


blur ::: v. t. --> To render obscure by making the form or outline of confused and uncertain, as by soiling; to smear; to make indistinct and confused; as, to blur manuscript by handling it while damp; to blur the impression of a woodcut by an excess of ink.
To cause imperfection of vision in; to dim; to darken.
To sully; to stain; to blemish, as reputation. ::: n.


boat ::: n. --> A small open vessel, or water craft, usually moved by cars or paddles, but often by a sail.
Hence, any vessel; usually with some epithet descriptive of its use or mode of propulsion; as, pilot boat, packet boat, passage boat, advice boat, etc. The term is sometimes applied to steam vessels, even of the largest class; as, the Cunard boats.
A vehicle, utensil, or dish, somewhat resembling a boat in shape; as, a stone boat; a gravy boat.


botany ::: a. & n. --> The science which treats of the structure of plants, the functions of their parts, their places of growth, their classification, and the terms which are employed in their description and denomination. See Plant.
A book which treats of the science of botany.


briefman ::: n. --> One who makes a brief.
A copier of a manuscript.


script ::: 1. A kind of writing, a system of alphabetical or other written characters. 2. Handwriting, esp. cursive writing, the characters used in hand-writing (as distinguished from print). 3. A manuscript or document. 4. A manuscript or written text of a play, motion picture, etc. scripts.

script ::: n. --> A writing; a written document.
Type made in imitation of handwriting.
An original instrument or document.
Written characters; style of writing.


scriptoria ::: pl. --> of Scriptorium

scriptorium ::: n. --> In an abbey or monastery, the room set apart for writing or copying manuscripts; in general, a room devoted to writing.

scriptory ::: a. --> Of or pertaining to writing; expressed in writing; used in writing; as, scriptory wills; a scriptory reed.

scriptural ::: a. --> Contained in the Scriptures; according to the Scriptures, or sacred oracles; biblical; as, a scriptural doctrine.

scripturalism ::: n. --> The quality or state of being scriptural; literal adherence to the Scriptures.

scripturalist ::: n. --> One who adheres literally to the Scriptures.

scripturally ::: adv. --> In a scriptural manner.

scripturalness ::: n. --> Quality of being scriptural.

scriptural ::: of, pertaining to, or in accordance with sacred writings.

scripture ::: 1. Any writing or book, esp. when of a sacred or religious nature. 2. Written characters.

scripture ::: n. --> Anything written; a writing; a document; an inscription.
The books of the Old and the new Testament, or of either of them; the Bible; -- used by way of eminence or distinction, and chiefly in the plural.
A passage from the Bible;; a text.


scripturian ::: n. --> A Scripturist.

scripturist ::: n. --> One who is strongly attached to, or versed in, the Scriptures, or who endeavors to regulate his life by them.

cabala ::: n. --> A kind of occult theosophy or traditional interpretation of the Scriptures among Jewish rabbis and certain mediaeval Christians, which treats of the nature of god and the mystery of human existence. It assumes that every letter, word, number, and accent of Scripture contains a hidden sense; and it teaches the methods of interpretation for ascertaining these occult meanings. The cabalists pretend even to foretell events by this means.
Secret science in general; mystic art; mystery.


cabbala ::: 1 A body of mystical Jewish teachings based on an interpretation of hidden meanings in the Hebrew Scriptures. Among its central doctrines are, all creation is an emanation from the Deity and the soul exists from eternity. 2. Any secret or occult doctrine or science. 3. "Esoteric system of interpretation of the Hebrew scriptures based on the assumption that every word, letter, number, and accent in them has an occult meaning. The system, oral at first, claimed great antiquity, but was really the product of the Middle Ages, arising in the 7th century and lasting into the 18th. It was popular chiefly among Jews, but spread to Christians as well. (Col. Enc.)” Glossary and Index of Proper Names in Sri Aurobindo"s Works

canon ::: n. --> A law or rule.
A law, or rule of doctrine or discipline, enacted by a council and confirmed by the pope or the sovereign; a decision, regulation, code, or constitution made by ecclesiastical authority.
The collection of books received as genuine Holy Scriptures, called the sacred canon, or general rule of moral and religious duty, given by inspiration; the Bible; also, any one of the canonical Scriptures. See Canonical books, under Canonical, a.


canvass ::: n. --> To sift; to strain; to examine thoroughly; to scrutinize; as, to canvass the votes cast at an election; to canvass a district with reference to its probable vote.
To examine by discussion; to debate.
To go trough, with personal solicitation or public addresses; as, to canvass a district for votes; to canvass a city for subscriptions.
Close inspection; careful review for verification; as, a


caricature ::: a grotesque imitation, misrepresentation or distorted image, as a drawing or description of a person which exaggerates characteristic features for comic effect.

caricature ::: v. t. --> An exaggeration, or distortion by exaggeration, of parts or characteristics, as in a picture.
A picture or other figure or description in which the peculiarities of a person or thing are so exaggerated as to appear ridiculous; a burlesque; a parody.
To make or draw a caricature of; to represent with ridiculous exaggeration; to burlesque.


casuistry ::: a. --> The science or doctrine of dealing with cases of conscience, of resolving questions of right or wrong in conduct, or determining the lawfulness or unlawfulness of what a man may do by rules and principles drawn from the Scriptures, from the laws of society or the church, or from equity and natural reason; the application of general moral rules to particular cases.
Sophistical, equivocal, or false reasoning or teaching in regard to duties, obligations, and morals.


caveat ::: n. --> A notice given by an interested party to some officer not to do a certain act until the party is heard in opposition; as, a caveat entered in a probate court to stop the proving of a will or the taking out of letters of administration, etc.
A description of some invention, designed to be patented, lodged in the patent office before the patent right is applied for, and operating as a bar to the issue of letters patent to any other person, respecting the same invention.


celidography ::: n. --> A description of apparent spots on the disk of the sun, or on planets.

censor ::: n. --> One of two magistrates of Rome who took a register of the number and property of citizens, and who also exercised the office of inspector of morals and conduct.
One who is empowered to examine manuscripts before they are committed to the press, and to forbid their publication if they contain anything obnoxious; -- an official in some European countries.
One given to fault-finding; a censurer.
A critic; a reviewer.


cetology ::: n. --> The description or natural history of cetaceous animals.

character ::: n. --> A distinctive mark; a letter, figure, or symbol.
Style of writing or printing; handwriting; the peculiar form of letters used by a particular person or people; as, an inscription in the Runic character.
The peculiar quality, or the sum of qualities, by which a person or a thing is distinguished from others; the stamp impressed by nature, education, or habit; that which a person or thing really is; nature; disposition.


charade ::: n. --> A verbal or acted enigma based upon a word which has two or more significant syllables or parts, each of which, as well as the word itself, is to be guessed from the descriptions or representations.

chorography ::: n. --> the mapping or description of a region or district.

chronogram ::: n. --> An inscription in which certain numeral letters, made to appear specially conspicuous, on being added together, express a particular date or epoch, as in the motto of a medal struck by Gustavus Adolphus in 1632: ChrIstVs DVX; ergo trIVMphVs.- the capitals of which give, when added as numerals, the sum 1632.
The record or inscription made by a chronograph.


chronography ::: n. --> A description or record of past time; history.

cippus ::: n. --> A small, low pillar, square or round, commonly having an inscription, used by the ancients for various purposes, as for indicating the distances of places, for a landmark, for sepulchral inscriptions, etc.

circumscriptible ::: a. --> Capable of being circumscribed or limited by bounds.

circumscription ::: n. --> An inscription written around anything.
The exterior line which determines the form or magnitude of a body; outline; periphery.
The act of limiting, or the state of being limited, by conditions or restraints; bound; confinement; limit.


circumscriptive ::: a. --> Circumscribing or tending to circumscribe; marcing the limits or form of.

circumscriptively ::: adv. --> In a limited manner.

circumscriptly ::: adv. --> In a literal, limited, or narrow manner.

cittakasa. These may be transcriptions there or impresses of physical things, persons, scenes, happenings, whatever is, was or will be or may be in the ph^ical universe. These images are very variously seen and under all kinds of conditions ; in samadhi or in the waking stale, and in the latter with the bodily eyes closed or open, projected on or into a physical object or medium or seen as if materialised in the physical atmosphere or only in a psychical ether revealing itself through this grosser physical atmosphere ; seen through the physical eyes themselves as a secondary instrument and as if under the conditions of the physical vision or by the psychical vision alone and indepen- dently of the relations of our ordinary sight to space. The real agent is always the psychical sight and the power indicates that the consciousness is more or less awake, intermittently or nor- mally and more or less perfectly, in the psj’chical body. It is possible to see In this way the transcriptions or impressions of things at any distance beyond the range of the physical vision or the images of the past or the future.

climatography ::: n. --> A description of climates.

codex ::: n. --> A book; a manuscript.
A collection or digest of laws; a code.
An ancient manuscript of the Sacred Scriptures, or any part of them, particularly the New Testament.
A collection of canons.


collate ::: v. t. --> To compare critically, as books or manuscripts, in order to note the points of agreement or disagreement.
To gather and place in order, as the sheets of a book for binding.
To present and institute in a benefice, when the person presenting is both the patron and the ordinary; -- followed by to.
To bestow or confer.


collation ::: v. t. --> The act of collating or comparing; a comparison of one copy er thing (as of a book, or manuscript) with another of a like kind; comparison, in general.
The gathering and examination of sheets preparatory to binding.
The act of conferring or bestowing.
A conference.
The presentation of a clergyman to a benefice by a


collator ::: n. --> One who collates manuscripts, books, etc.
One who collates to a benefice.
One who confers any benefit.


colophon ::: n. --> An inscription, monogram, or cipher, containing the place and date of publication, printer&

colored ::: imp. & p. p. --> of Color ::: a. --> Having color; tinged; dyed; painted; stained.
Specious; plausible; adorned so as to appear well; as, a highly colored description.
Of some other color than black or white.


cometography ::: n. --> A description of, or a treatise concerning, comets.

commentary ::: v. i. --> A series of comments or annotations; esp., a book of explanations or expositions on the whole or a part of the Scriptures or of some other work.
A brief account of transactions or events written hastily, as if for a memorandum; -- usually in the plural; as, Caesar&


conscript ::: a. --> Enrolled; written; registered. ::: n. --> One taken by lot, or compulsorily enrolled, to serve as a soldier or sailor. ::: v. t.

conscription ::: n. --> An enrolling or registering.
A compulsory enrollment of men for military or naval service; a draft. ::: a. --> Belonging to, or of the nature of, a conspiration.


context ::: a. --> Knit or woven together; close; firm. ::: n. --> The part or parts of something written or printed, as of Scripture, which precede or follow a text or quoted sentence, or are so intimately associated with it as to throw light upon its meaning.

copy ::: n. --> An abundance or plenty of anything.
An imitation, transcript, or reproduction of an original work; as, a copy of a letter, an engraving, a painting, or a statue.
An individual book, or a single set of books containing the works of an author; as, a copy of the Bible; a copy of the works of Addison.
That which is to be imitated, transcribed, or reproduced; a pattern, model, or example; as, his virtues are an excellent copy for


corrupt ::: a. --> Changed from a sound to a putrid state; spoiled; tainted; vitiated; unsound.
Changed from a state of uprightness, correctness, truth, etc., to a worse state; vitiated; depraved; debased; perverted; as, corrupt language; corrupt judges.
Abounding in errors; not genuine or correct; as, the text of the manuscript is corrupt.


cosmography ::: n. --> A description of the world or of the universe; or the science which teaches the constitution of the whole system of worlds, or the figure, disposition, and relation of all its parts.

cosmos ::: n. --> The universe or universality of created things; -- so called from the order and harmony displayed in it.
The theory or description of the universe, as a system displaying order and harmony.


covenant ::: n. --> A mutual agreement of two or more persons or parties, or one of the stipulations in such an agreement.
An agreement made by the Scottish Parliament in 1638, and by the English Parliament in 1643, to preserve the reformed religion in Scotland, and to extirpate popery and prelacy; -- usually called the "Solemn League and Covenant."
The promises of God as revealed in the Scriptures, conditioned on certain terms on the part of man, as obedience,


cuniform ::: a. --> Wedge-shaped; as, a cuneiform bone; -- especially applied to the wedge-shaped or arrowheaded characters of ancient Persian and Assyrian inscriptions. See Arrowheaded.
Pertaining to, or versed in, the ancient wedge-shaped characters, or the inscriptions in them. ::: n.


dactylioglyph ::: n. --> An engraver of gems for rings and other ornaments.
The inscription of the engraver&


date ::: n. --> The fruit of the date palm; also, the date palm itself.
That addition to a writing, inscription, coin, etc., which specifies the time (as day, month, and year) when the writing or inscription was given, or executed, or made; as, the date of a letter, of a will, of a deed, of a coin. etc.
The point of time at which a transaction or event takes place, or is appointed to take place; a given point of time; epoch; as, the date of a battle.


description ::: n. --> The act of describing; a delineation by marks or signs.
A sketch or account of anything in words; a portraiture or representation in language; an enumeration of the essential qualities of a thing or species.
A class to which a certain representation is applicable; kind; sort.


descriptive ::: a. --> Tending to describe; having the quality of representing; containing description; as, a descriptive figure; a descriptive phrase; a descriptive narration; a story descriptive of the age.

definement ::: n. --> The act of defining; definition; description.

definition ::: n. --> The act of defining; determination of the limits; as, a telescope accurate in definition.
Act of ascertaining and explaining the signification; a description of a thing by its properties; an explanation of the meaning of a word or term; as, the definition of "circle;" the definition of "wit;" an exact definition; a loose definition.
Description; sort.
An exact enunciation of the constituents which make up


delineatory ::: a. --> That delineates; descriptive; drawing the outline; delineating.

dermatography ::: n. --> An anatomical description of, or treatise on, the skin.

describable ::: a. --> That can be described; capable of description.

designate ::: v. t. --> Designated; appointed; chosen.
To mark out and make known; to point out; to name; to indicate; to show; to distinguish by marks or description; to specify; as, to designate the boundaries of a country; to designate the rioters who are to be arrested.
To call by a distinctive title; to name.
To indicate or set apart for a purpose or duty; -- with to or for; to designate an officer for or to the command of a post


diagnosis ::: n. --> The art or act of recognizing the presence of disease from its signs or symptoms, and deciding as to its character; also, the decision arrived at.
Scientific determination of any kind; the concise description of characterization of a species.
Critical perception or scrutiny; judgment based on such scrutiny; esp., perception of, or judgment concerning, motives and character.


diagraphical ::: a. --> Descriptive.

diagraphics ::: n. --> The art or science of descriptive drawing; especially, the art or science of drawing by mechanical appliances and mathematical rule.

dictate ::: v. t. --> To tell or utter so that another may write down; to inspire; to compose; as, to dictate a letter to an amanuensis.
To say; to utter; to communicate authoritatively; to deliver (a command) to a subordinate; to declare with authority; to impose; as, to dictate the terms of a treaty; a general dictates orders to his troops.
A statement delivered with authority; an order; a command; an authoritative rule, principle, or maxim; a prescription;


direction ::: n. --> The act of directing, of aiming, regulating, guiding, or ordering; guidance; management; superintendence; administration; as, the direction o/ public affairs or of a bank.
That which is imposed by directing; a guiding or authoritative instruction; prescription; order; command; as, he grave directions to the servants.
The name and residence of a person to whom any thing is sent, written upon the thing sent; superscription; address; as, the


dispensatory ::: v. t. --> Granting, or authorized to grant, dispensations. ::: n. --> A book or medicinal formulary containing a systematic description of drugs, and of preparations made from them. It is usually, but not always, distinguished from a pharmacop/ia in that it issued by private parties, and not by an official body or by

dittology ::: n. --> A double reading, or twofold interpretation, as of a Scripture text.

douay bible ::: --> A translation of the Scriptures into the English language for the use of English-speaking Roman Catholics; -- done from the Latin Vulgate by English scholars resident in France. The New Testament portion was published at Rheims, A. D. 1582, the Old Testament at Douai, A. D. 1609-10. Various revised editions have since been published.

DREAMS. ::: Sometimes they are the formations of your own mind or vital ; sometimes they are the formations of other minds wth an exact or modified transcription in yours ; sometimes for- mations come that are made by the non-human forces or beings of these other planes. These things are not true and need not become true in the physical world, but they may still have effects on the physical if they are framed wlh that purpose or that tendency and, if they are allowed, they may realise their events or their meaning — for they are most often symbolic or sche- ‘ matic — in the inner or the outer life.

There are other dreams that have not the same character but are a representation or transcription of things that actually hap- pen on other planes, in other worlds under other conditions than ours. There are, again, some dreams that are purely symbolic and some that indicate existing movements and propensities in us.

Symbolic dreams may symbolize anything, forces at play, the underlying structure and tissue of things done or experienced, actual or potential happenings, real or suggested movements or changes in the inner or outer nature. The exact meaning varies with the mind and the condition of the one who sees them.


duplicate ::: a. --> Double; twofold. ::: n. --> That which exactly resembles or corresponds to something else; another, correspondent to the first; hence, a copy; a transcript; a counterpart.
An original instrument repeated; a document which is the


escript ::: n. --> A writing.

efface ::: 1. To wipe out; do away with; expunge. 2. To rub out, erase, or obliterate (outlines, traces, inscriptions, etc.). 3. To make (oneself) inconspicuous; withdraw (oneself). effaced, effacing.

efface ::: v. t. --> To cause to disappear (as anything impresses or inscribed upon a surface) by rubbing out, striking out, etc.; to erase; to render illegible or indiscernible; as, to efface the letters on a monument, or the inscription on a coin.
To destroy, as a mental impression; to wear away.


elohim ::: n. --> One of the principal names by which God is designated in the Hebrew Scriptures.

embryography ::: n. --> The general description of embryos.

engrave ::: v. t. --> To deposit in the grave; to bury.
To cut in; to make by incision.
To cut with a graving instrument in order to form an inscription or pictorial representation; to carve figures; to mark with incisions.
To form or represent by means of incisions upon wood, stone, metal, or the like; as, to engrave an inscription.
To impress deeply; to infix, as if with a graver.


enlimn ::: v. t. --> To adorn by illuminating or ornamenting with colored and decorated letters and figures, as a book or manuscript.

enteradenography ::: n. --> A treatise upon, or description of, the intestinal glands.

enterography ::: n. --> A treatise upon, or description of, the intestines; enterology.

envoy ::: n. --> One dispatched upon an errand or mission; a messenger; esp., a person deputed by a sovereign or a government to negotiate a treaty, or transact other business, with a foreign sovereign or government; a minister accredited to a foreign government. An envoy&

epigraph ::: n. --> Any inscription set upon a building; especially, one which has to do with the building itself, its founding or dedication.
A citation from some author, or a sentence framed for the purpose, placed at the beginning of a work or of its separate divisions; a motto.


epigraphy ::: n. --> The science of inscriptions; the art of engraving inscriptions or of deciphering them.

epitaph ::: n. --> An inscription on, or at, a tomb, or a grave, in memory or commendation of the one buried there; a sepulchral inscription.
A brief writing formed as if to be inscribed on a monument, as that concerning Alexander: "Sufficit huic tumulus, cui non sufficeret orbis." ::: v. t.


ethnography ::: n. --> That branch of knowledge which has for its subject the characteristics of the human family, developing the details with which ethnology as a comparative science deals; descriptive ethnology. See Ethnology.

eugubine ::: a. --> Of or pertaining to the ancient town of Eugubium (now Gubbio); as, the Eugubine tablets, or tables, or inscriptions.

exscript ::: n. --> A copy; a transcript.

exscriptural ::: a. --> Not in accordance with the doctrines of Scripture; unscriptural.

exegesis ::: n. --> Exposition; explanation; especially, a critical explanation of a text or portion of Scripture.
The process of finding the roots of an equation.


exemplification ::: n. --> The act of exemplifying; a showing or illustrating by example.
That which exemplifies; a case in point; example.
A copy or transcript attested to be correct by the seal of an officer having custody of the original.


exemplify ::: v. t. --> To show or illustrate by example.
To copy; to transcribe; to make an attested copy or transcript of, under seal, as of a record.
To prove or show by an attested copy.


exode ::: n. --> Departure; exodus; esp., the exodus of the Israelites from Egypt.
The final chorus; the catastrophe.
An afterpiece of a comic description, either a farce or a travesty.


experience ::: n. --> Trial, as a test or experiment.
The effect upon the judgment or feelings produced by any event, whether witnessed or participated in; personal and direct impressions as contrasted with description or fancies; personal acquaintance; actual enjoyment or suffering.
An act of knowledge, one or more, by which single facts or general truths are ascertained; experimental or inductive knowledge; hence, implying skill, facility, or practical wisdom gained by personal


explanation ::: n. --> The act of explaining, expounding, or interpreting; the act of clearing from obscurity and making intelligible; as, the explanation of a passage in Scripture, or of a contract or treaty.
That which explains or makes clear; as, a satisfactory explanation.
The meaning attributed to anything by one who explains it; definition; interpretation; sense.
A mutual exposition of terms, meaning, or motives,


expound ::: v. t. --> To lay open; to expose to view; to examine.
To lay open the meaning of; to explain; to clear of obscurity; to interpret; as, to expound a text of Scripture, a law, a word, a meaning, or a riddle.


fabulous ::: a. --> Feigned, as a story or fable; related in fable; devised; invented; not real; fictitious; as, a fabulous description; a fabulous hero.
Passing belief; exceedingly great; as, a fabulous price.


faintness ::: n. --> The state of being faint; loss of strength, or of consciousness, and self-control.
Want of vigor or energy.
Feebleness, as of color or light; lack of distinctness; as, faintness of description.
Faint-heartedness; timorousness; dejection.


faith ::: n. --> Belief; the assent of the mind to the truth of what is declared by another, resting solely and implicitly on his authority and veracity; reliance on testimony.
The assent of the mind to the statement or proposition of another, on the ground of the manifest truth of what he utters; firm and earnest belief, on probable evidence of any kind, especially in regard to important moral truth.
The belief in the historic truthfulness of the Scripture


familiar ::: a. --> Of or pertaining to a family; domestic.
Closely acquainted or intimate, as a friend or companion; well versed in, as any subject of study; as, familiar with the Scriptures.
Characterized by, or exhibiting, the manner of an intimate friend; not formal; unconstrained; easy; accessible.
Well known; well understood; common; frequent; as, a familiar illustration.


fan palm ::: --> Any palm tree having fan-shaped or radiate leaves; as the Chamaerops humilis of Southern Europe; the species of Sabal and Thrinax in the West Indies, Florida, etc.; and especially the great talipot tree (Corypha umbraculifera) of Ceylon and Malaya. The leaves of the latter are often eighteen feet long and fourteen wide, and are used for umbrellas, tents, and roofs. When cut up, they are used for books and manuscripts.

figurative ::: a. --> Representing by a figure, or by resemblance; typical; representative.
Used in a sense that is tropical, as a metaphor; not literal; -- applied to words and expressions.
Abounding in figures of speech; flowery; florid; as, a highly figurative description.
Relating to the representation of form or figure by drawing, carving, etc. See Figure, n., 2.


flora ::: n. --> The goddess of flowers and spring.
The complete system of vegetable species growing without cultivation in a given locality, region, or period; a list or description of, or treatise on, such plants.


folio ::: n. --> A leaf of a book or manuscript.
A sheet of paper once folded.
A book made of sheets of paper each folded once (four pages to the sheet); hence, a book of the largest kind. See Note under Paper.
The page number. The even folios are on the left-hand pages and the odd folios on the right-hand.
A page of a book; (Bookkeeping) a page in an account book; sometimes, two opposite pages bearing the same serial number.


formula ::: n. --> A prescribed or set form; an established rule; a fixed or conventional method in which anything is to be done, arranged, or said.
A written confession of faith; a formal statement of foctrines.
A rule or principle expressed in algebraic language; as, the binominal formula.
A prescription or recipe for the preparation of a medicinal compound.


For the sadhaka of the integral yoga it is necessary to remem- ber that no written Sastra, however great its authority or however large its spirit, can be more than a partial expression of the eternal Knowledge. He will use, but never bind himself even by the greatest Scripture.

galvanology ::: n. --> A treatise on galvanism, or a description of its phenomena.

gazetteer ::: n. --> A writer of news, or an officer appointed to publish news by authority.
A newspaper; a gazette.
A geographical dictionary; a book giving the names and descriptions, etc., of many places.
An alphabetical descriptive list of anything.


generical ::: a. --> Pertaining to a genus or kind; relating to a genus, as distinct from a species, or from another genus; as, a generic description; a generic difference; a generic name.
Very comprehensive; pertaining or appropriate to large classes or their characteristics; -- opposed to specific.


geography ::: n. --> The science which treats of the world and its inhabitants; a description of the earth, or a portion of the earth, including its structure, fetures, products, political divisions, and the people by whom it is inhabited.
A treatise on this science.


gigantology ::: n. --> An account or description of giants.

gita dhyanam. :::nine verses that are recited before reading the Bhagavad Gita; these verses offer salutations to a variety of sacred scriptures, figures, and entities, characterise the relationship of the Bhagavad Gita to the

gita &

graffiti ::: n. pl. --> Inscriptions, figure drawings, etc., found on the walls of ancient sepulchers or ruins, as in the Catacombs, or at Pompeii.

graphical ::: a. --> Of or pertaining to the arts of painting and drawing.
Of or pertaining to the art of writing.
Written or engraved; formed of letters or lines.
Well delineated; clearly and vividly described.
Having the faculty of, or characterized by, clear and impressive description; vivid; as, a graphic writer.


gravestone ::: n. --> A stone laid over, or erected near, a grave, usually with an inscription, to preserve the memory of the dead; a tombstone.

guib ::: n. --> A West African antelope (Tragelaphus scriptus), curiously marked with white stripes and spots on a reddish fawn ground, and hence called harnessed antelope; -- called also guiba.

haberdasher ::: n. --> A dealer in small wares, as tapes, pins, needles, and thread; also, a hatter.
A dealer in drapery goods of various descriptions, as laces, silks, trimmings, etc.


hagiology ::: n. --> The history or description of the sacred writings or of sacred persons; a narrative of the lives of the saints; a catalogue of saints.

haliography ::: n. --> Description of the sea; the science that treats of the sea.

hammer-beam ::: n. --> A member of one description of roof truss, called hammer-beam truss, which is so framed as not to have a tiebeam at the top of the wall. Each principal has two hammer-beams, which occupy the situation, and to some extent serve the purpose, of a tiebeam.

handwriting ::: n. --> The cast or form of writing peculiar to each hand or person; chirography.
That which is written by hand; manuscript.


heelball ::: n. --> A composition of wax and lampblack, used by shoemakers for polishing, and by antiquaries in copying inscriptions.

herbal ::: a. --> Of or pertaining to herbs. ::: n. --> A book containing the names and descriptions of plants.
A collection of specimens of plants, dried and preserved; a hortus siccus; an herbarium.


hermeneutical ::: a. --> Unfolding the signification; of or pertaining to interpretation; exegetical; explanatory; as, hermeneutic theology, or the art of expounding the Scriptures; a hermeneutic phrase.

hermeneutically ::: adv. --> According to the principles of interpretation; as, a verse of Scripture was examined hermeneutically.

hermeneutics ::: n. --> The science of interpretation and explanation; exegesis; esp., that branch of theology which defines the laws whereby the meaning of the Scriptures is to be ascertained.

heterodoxy ::: n. --> An opinion or doctrine, or a system of doctrines, contrary to some established standard of faith, as the Scriptures, the creed or standards of a church, etc.; heresy.

hexapla ::: sing. --> A collection of the Holy Scriptures in six languages or six versions in parallel columns; particularly, the edition of the Old Testament published by Origen, in the 3d century.

hiatus ::: pl. --> of Hiatus ::: n. --> An opening; an aperture; a gap; a chasm; esp., a defect in a manuscript, where some part is lost or effaced; a space where something is wanting; a break.
The concurrence of two vowels in two successive words or


hieroglyph ::: designating or pertaining to a pictographic script, particularly that of the ancient Egyptians, in which many of the symbols are conventionalized, recognizable pictures of the things represented. hieroglyphs.

hierology ::: n. --> A treatise on sacred things; especially, the science which treats of the ancient writings and inscriptions of the Egyptians, or a treatise on that science.

high-colored ::: a. --> Having a strong, deep, or glaring color; flushed.
Vivid; strong or forcible in representation; hence, exaggerated; as, high-colored description.


himyaritic ::: a. --> Pertaining to Himyar, an ancient king of Yemen, in Arabia, or to his successors or people; as, the Himjaritic characters, language, etc.; applied esp. to certain ancient inscriptions showing the primitive type of the oldest form of the Arabic, still spoken in Southern Arabia.

histography ::: n. --> A description of, or treatise on, organic tissues.

history ::: n. --> A learning or knowing by inquiry; the knowledge of facts and events, so obtained; hence, a formal statement of such information; a narrative; a description; a written record; as, the history of a patient&

hutchunsonian ::: n. --> A follower of John Hutchinson of Yorkshire, England, who believed that the Hebrew Scriptures contained a complete system of natural science and of theology.

hydrognosy ::: n. --> A treatise upon, or a history and description of, the water of the earth.

hyetal ::: a. --> Of or pertaining to rain; descriptive of the distribution of rain, or of rainy regions.

hypotyposis ::: n. --> A vivid, picturesque description of scenes or events.

iconism ::: n. --> The formation of a figure, representation, or semblance; a delineation or description.

iconography ::: n. --> The art or representation by pictures or images; the description or study of portraiture or representation, as of persons; as, the iconography of the ancients.
The study of representative art in general.


iconology ::: n. --> The discussion or description of portraiture or of representative images. Cf. Iconography.

idea ::: n. --> The transcript, image, or picture of a visible object, that is formed by the mind; also, a similar image of any object whatever, whether sensible or spiritual.
A general notion, or a conception formed by generalization.
Hence: Any object apprehended, conceived, or thought of, by the mind; a notion, conception, or thought; the real object that is conceived or thought of.
A belief, option, or doctrine; a characteristic or


idolographical ::: a. --> Descriptive of idols.

idyl ::: n. --> A short poem; properly, a short pastoral poem; as, the idyls of Theocritus; also, any poem, especially a narrative or descriptive poem, written in an eleveted and highly finished style; also, by extension, any artless and easily flowing description, either in poetry or prose, of simple, rustic life, of pastoral scenes, and the like.

illegible ::: a. --> Incapable of being read; not legible; as, illegible handwriting; an illegible inscription.

illuminate ::: v. t. --> To make light; to throw light on; to supply with light, literally or figuratively; to brighten.
To light up; to decorate with artificial lights, as a building or city, in token of rejoicing or respect.
To adorn, as a book or page with borders, initial letters, or miniature pictures in colors and gold, as was done in manuscripts of the Middle Ages.
To make plain or clear; to dispel the obscurity to


illumination ::: n. --> The act of illuminating, or supplying with light; the state of being illuminated.
Festive decoration of houses or buildings with lights.
Adornment of books and manuscripts with colored illustrations. See Illuminate, v. t., 3. ::: v. t.


illuminator ::: n. --> One whose occupation is to adorn books, especially manuscripts, with miniatures, borders, etc. See Illuminate, v. t., 3. ::: v. t. --> A condenser or reflector of light in optical apparatus; also, an illuminant.

imagery ::: n. --> The work of one who makes images or visible representation of objects; imitation work; images in general, or in mass.
Fig.: Unreal show; imitation; appearance.
The work of the imagination or fancy; false ideas; imaginary phantasms.
Rhetorical decoration in writing or speaking; vivid descriptions presenting or suggesting images of sensible objects; figures in discourse.


imprescriptibility ::: n. --> The quality of being imprescriptible.

imprescriptible ::: a. --> Not capable of being lost or impaired by neglect, by disuse, or by the claims of another founded on prescription.
Not derived from, or dependent on, external authority; self-evidencing; obvious.


imprescriptibly ::: adv. --> In an imprescriptible manner; obviously.

imputation ::: --> The act of imputing or charging; attribution; ascription; also, anything imputed or charged.
Charge or attribution of evil; censure; reproach; insinuation.
A setting of something to the account of; the attribution of personal guilt or personal righteousness of another; as, the imputation of the sin of Adam, or the righteousness of Christ.
Opinion; intimation; hint.


inscriptible ::: a. --> Capable of being inscribed; inscribable.

inscription ::: a marking, such as the wording on a coin, medal, monument, or seal, that is inscribed. inscriptions.

inscription ::: n. --> The act or process of inscribing.
That which is inscribed; something written or engraved; especially, a word or words written or engraved on a solid substance for preservation or public inspection; as, inscriptions on monuments, pillars, coins, medals, etc.
A line of division or intersection; as, the tendinous inscriptions, or intersections, of a muscle.
An address, consignment, or informal dedication, as of


inscriptive ::: a. --> Bearing inscription; of the character or nature of an inscription.

incircumscriptible ::: a. --> Incapable of being circumscribed or limited.

incircumscription ::: n. --> Condition or quality of being incircumscriptible or limitless.

indescriptive ::: a. --> Not descriptive.

inedited ::: a. --> Not edited; unpublished; as, an inedited manuscript.

infelicitous ::: a. --> Not felicitous; unhappy; unfortunate; not fortunate or appropriate in application; not well said, expressed, or done; as, an infelicitous condition; an infelicitous remark; an infelicitous description; infelicitous words.

infidel ::: a. --> Not holding the faith; -- applied esp. to one who does not believe in the inspiration of the Scriptures, and the supernatural origin of Christianity. ::: n. --> One who does not believe in the prevailing religious faith; especially, one who does not believe in the divine origin and

infidelity ::: n. --> Want of faith or belief in some religious system; especially, a want of faith in, or disbelief of, the inspiration of the Scriptures, of the divine origin of Christianity.
Unfaithfulness to the marriage vow or contract; violation of the marriage covenant by adultery.
Breach of trust; unfaithfulness to a charge, or to moral obligation; treachery; deceit; as, the infidelity of a servant.


insculption ::: n. --> Inscription.

insculpture ::: n. --> An engraving, carving, or inscription.

intelligible ::: --> Capable of being understood or comprehended; as, an intelligible account or description; intelligible pronunciation, writing, etc.

interlinear ::: a. --> Contained between lines; written or inserted between lines already written or printed; containing interlineations; as, an interlinear manuscript, translation, etc.

internal ::: a. --> Inward; interior; being within any limit or surface; inclosed; -- opposed to external; as, the internal parts of a body, or of the earth.
Derived from, or dependent on, the thing itself; inherent; as, the internal evidence of the divine origin of the Scriptures.
Pertaining to its own affairs or interests; especially, (said of a country) domestic, as opposed to foreign; as, internal


interpretation ::: n. --> The act of interpreting; explanation of what is obscure; translation; version; construction; as, the interpretation of a foreign language, of a dream, or of an enigma.
The sense given by an interpreter; exposition or explanation given; meaning; as, commentators give various interpretations of the same passage of Scripture.
The power or explaining.
An artist&


introit ::: n. --> A going in.
A psalm sung or chanted immediately before the collect, epistle, and gospel, and while the priest is entering within the rails of the altar.
A part of a psalm or other portion of Scripture read by the priest at Mass immediately after ascending to the altar.
An anthem or psalm sung before the Communion service.
Any composition of vocal music appropriate to the opening


:::invisible, unmanifest Brahman; the Brahman that pervades the universe; ::: the impersonal, attributeless Absolute beyond all description or designation

isagogics ::: n. --> That part of theological science directly preliminary to actual exegesis, or interpretation of the Scriptures.

itala ::: n. --> An early Latin version of the Scriptures (the Old Testament was translated from the Septuagint, and was also called the Italic version).

It is the cryptic verses of the Veda that help us here; for they contain, though concealed, the gospel of the divine and immortal Supermind and through the veil some illumining flashes come to us. We can see through these utterances the conception of this Supermind as a vastness beyond the ordinary firmaments of our consciousness in which truth of being is luminously one with all that expresses it and assures inevitably truth of vision, formulation, arrangement, word, act and movement and therefore truth also of result of movement, result of action and expression, infallible ordinance or law. Vast all-comprehensiveness; luminous truth and harmony of being in that vastness and not a vague chaos or self-lost obscurity; truth of law and act and knowledge expressive of that harmonious truth of being: these seem to be the essential terms of the Vedic description.” *The Life Divine

It is the cryptic verses of the Veda that help us here; for they contain, though concealed, the gospel of the divine and immortal Supermind and through the veil some illumining flashes come to us. We can see through these utterances the conception of this Supermind as a vastness beyond the ordinary firmaments of our consciousness in which truth of being is luminously one with all that expresses it and assures inevitably truth of vision, formulation, arrangement, word, act and movement and therefore truth also of result of movement, result of action and expression, infallible ordinance or law. Vast all-comprehensiveness; luminous truth and harmony of being in that vastness and not a vague chaos or self-lost obscurity; truth of law and act and knowledge expressive of that harmonious truth of being: these seem to be the essential terms of the Vedic description.” The Life Divine

jehovah ::: n. --> A Scripture name of the Supreme Being, by which he was revealed to the Jews as their covenant God or Sovereign of the theocracy; the "ineffable name" of the Supreme Being, which was not pronounced by the Jews.

Jhumur: “Here it is a description of Savitri’s soul. A being or a force that can live freely on the heights.”

justice ::: a. --> The quality of being just; conformity to the principles of righteousness and rectitude in all things; strict performance of moral obligations; practical conformity to human or divine law; integrity in the dealings of men with each other; rectitude; equity; uprightness.
Conformity to truth and reality in expressing opinions and in conduct; fair representation of facts respecting merit or demerit; honesty; fidelity; impartiality; as, the justice of a description or of a judgment; historical justice.


justness ::: n. --> The quality of being just; conformity to truth, propriety, accuracy, exactness, and the like; justice; reasonableness; fairness; equity; as, justness of proportions; the justness of a description or representation; the justness of a cause.

kakemono ::: A Japanese paper or silk wall hanging, usually long and narrow, with a picture or inscription on it and a roller at the bottom.

kakemono ::: a Japanese paper or silk wall hanging, usually long and narrow, with a picture or inscription on it and a roller at the bottom.

karaite ::: n. --> A sect of Jews who adhere closely to the letter of the Scriptures, rejecting the oral law, and allowing the Talmud no binding authority; -- opposed to the Rabbinists.

know-nothing ::: n. --> A member of a secret political organization in the United States, the chief objects of which were the proscription of foreigners by the repeal of the naturalization laws, and the exclusive choice of native Americans for office.

koran ::: n. --> The Scriptures of the Mohammedans, containing the professed revelations to Mohammed; -- called also Alcoran.

label ::: n. --> A tassel.
A slip of silk, paper, parchment, etc., affixed to anything, usually by an inscription, the contents, ownership, destination, etc.; as, the label of a bottle or a package.
A slip of ribbon, parchment, etc., attached to a document to hold the appended seal; also, the seal.
A writing annexed by way of addition, as a codicil added to a will.


law ::: n. --> In general, a rule of being or of conduct, established by an authority able to enforce its will; a controlling regulation; the mode or order according to which an agent or a power acts.
In morals: The will of God as the rule for the disposition and conduct of all responsible beings toward him and toward each other; a rule of living, conformable to righteousness; the rule of action as obligatory on the conscience or moral nature.
The Jewish or Mosaic code, and that part of Scripture where it


leaf ::: 1. A usually green, flattened, lateral structure attached to a stem and functioning as a principle organ of photosynthesis and transpiration in most plants. 2. A page of a book or manuscript. lotus-leaf. (See also gold-leaf.)

lection ::: n. --> A lesson or selection, esp. of Scripture, read in divine service.
A reading; a variation in the text.


lecture ::: n. --> The act of reading; as, the lecture of Holy Scripture.
A discourse on any subject; especially, a formal or methodical discourse, intended for instruction; sometimes, a familiar discourse, in contrast with a sermon.
A reprimand or formal reproof from one having authority.
A rehearsal of a lesson. ::: v. t.


lecturn ::: n. --> A choir desk, or reading desk, in some churches, from which the lections, or Scripture lessons, are chanted or read; hence, a reading desk. [Written also lectern and lettern.]

legend ::: n. --> That which is appointed to be read; especially, a chronicle or register of the lives of saints, formerly read at matins, and in the refectories of religious houses.
A story respecting saints; especially, one of a marvelous nature.
Any wonderful story coming down from the past, but not verifiable by historical record; a myth; a fable.
An inscription, motto, or title, esp. one surrounding the


legible ::: a. --> Capable of being read or deciphered; distinct to the eye; plain; -- used of writing or printing; as, a fair, legible manuscript.
Capable of being discovered or understood by apparent marks or indications; as, the thoughts of men are often legible in their countenances.


legitimate ::: a. --> Accordant with law or with established legal forms and requirements; lawful; as, legitimate government; legitimate rights; the legitimate succession to the throne; a legitimate proceeding of an officer; a legitimate heir.
Lawfully begotten; born in wedlock.
Authorized; real; genuine; not false, counterfeit, or spurious; as, legitimate poems of Chaucer; legitimate inscriptions.
Conforming to known principles, or accepted rules; as,


lesson ::: n. --> Anything read or recited to a teacher by a pupil or learner; something, as a portion of a book, assigned to a pupil to be studied or learned at one time.
That which is learned or taught by an express effort; instruction derived from precept, experience, observation, or deduction; a precept; a doctrine; as, to take or give a lesson in drawing.
A portion of Scripture read in divine service for


leviathan ::: n. --> An aquatic animal, described in the book of Job, ch. xli., and mentioned in other passages of Scripture.
The whale, or a great whale.


librarian ::: n. --> One who has the care or charge of a library.
One who copies manuscript books.


lichenography ::: n. --> A description of lichens; the science which illustrates the natural history of lichens.

literalize ::: v. t. --> To make literal; to interpret or put in practice according to the strict meaning of the words; -- opposed to spiritualize; as, to literalize Scripture.

liturgiology ::: n. --> The science treating of liturgical matters; a treatise on, or description of, liturgies.

luxuriate ::: v. i. --> To grow exuberantly; to grow to superfluous abundance.
To feed or live luxuriously; as, the herds luxuriate in the pastures.
To indulge with unrestrained delight and freedom; as, to luxuriate in description.


lymphography ::: n. --> A description of the lymphatic vessels, their origin and uses.

Madhav: “The Scripture Wonderful refers to the Supreme Knowledge. The Spirit-mate of Life hopes to divine the Supreme Knowledge in the transcript made by Life of God’s intention; but that script, however bright and attractive is a product of her fancy. The true Word lies covered under her fanciful rendering. The Supreme Knowledge that holds the key to the celestial beatitudes escapes him.” The Book of the Divine Mother

magistral ::: a. --> Pertaining to a master; magisterial; authoritative; dogmatic.
Commanded or prescribed by a magister, esp. by a doctor; hence, effectual; sovereign; as, a magistral sirup.
Formulated extemporaneously, or for a special case; -- opposed to officinal, and said of prescriptions and medicines. ::: n.


majusculae ::: n. pl. --> Capital letters, as found in manuscripts of the sixth century and earlier.

majuscule ::: n. --> A capital letter; especially, one used in ancient manuscripts. See Majusculae.

mandate ::: n. --> An official or authoritative command; an order or injunction; a commission; a judicial precept.
A rescript of the pope, commanding an ordinary collator to put the person therein named in possession of the first vacant benefice in his collation.
A contract by which one employs another to manage any business for him. By the Roman law, it must have been gratuitous.


manifest ::: a. --> Evident to the senses, esp. to the sight; apparent; distinctly perceived; hence, obvious to the understanding; apparent to the mind; easily apprehensible; plain; not obscure or hidden.
Detected; convicted; -- with of.
A public declaration; an open statement; a manifesto. See Manifesto.
A list or invoice of a ship&


manuscriptal ::: a. --> Manuscript.

manuscript ::: a. --> Written with or by the hand; not printed; as, a manuscript volume.
A literary or musical composition written with the hand, as distinguished from a printed copy.
Writing, as opposed to print; as, the book exists only in manuscript.


maroon ::: n. --> In the West Indies and Guiana, a fugitive slave, or a free negro, living in the mountains.
A brownish or dull red of any description, esp. of a scarlet cast rather than approaching crimson or purple.
An explosive shell. See Marron, 3. ::: v. t.


masora ::: n. --> A Jewish critical work on the text of the Hebrew Scriptures, composed by several learned rabbis of the school of Tiberias, in the eighth and ninth centuries.

melodrama ::: n. --> Formerly, a kind of drama having a musical accompaniment to intensify the effect of certain scenes. Now, a drama abounding in romantic sentiment and agonizing situations, with a musical accompaniment only in parts which are especially thrilling or pathetic. In opera, a passage in which the orchestra plays a somewhat descriptive accompaniment, while the actor speaks; as, the melodrama in the gravedigging scene of Beethoven&

microcosmography ::: n. --> Description of man as a microcosm.

micrography ::: n. --> The description of microscopic objects.

miniate ::: v. t. --> To paint or tinge with red lead or vermilion; also, to decorate with letters, or the like, painted red, as the page of a manuscript. ::: a. --> Of or pertaining to the color of red lead or vermilion; painted with vermilion.

miniature ::: v. --> Originally, a painting in colors such as those in mediaeval manuscripts; in modern times, any very small painting, especially a portrait.
Greatly diminished size or form; reduced scale.
Lettering in red; rubric distinction.
A particular feature or trait. ::: a.


minuscule ::: n. --> Any very small, minute object.
A small Roman letter which is neither capital nor uncial; a manuscript written in such letters. ::: a. --> Of the size and style of minuscules; written in minuscules.


mishna ::: n. --> A collection or digest of Jewish traditions and explanations of Scripture, forming the text of the Talmud.

missalled ::: with reference to the illumination of manuscripts and books of prayer; i.e. Savitri is likened to a beautifully illuminted book of prayer.

moniment ::: n. --> Something to preserve memory; a reminder; a monument; hence, a mark; an image; a superscription; a record.

monograph ::: n. --> A written account or description of a single thing, or class of things; a special treatise on a particular subject of limited range.

monumental ::: a. --> Of, pertaining to, or suitable for, a monument; as, a monumental inscription.
Serving as a monument; memorial; preserving memory.


monument ::: n. --> Something which stands, or remains, to keep in remembrance what is past; a memorial.
A building, pillar, stone, or the like, erected to preserve the remembrance of a person, event, action, etc.; as, the Washington monument; the Bunker Hill monument. Also, a tomb, with memorial inscriptions.
A stone or other permanent object, serving to indicate a limit or to mark a boundary.


myography ::: n. --> The description of muscles, including the study of muscular contraction by the aid of registering apparatus, as by some form of myograph; myology.

mystify ::: v. t. --> To involve in mystery; to make obscure or difficult to understand; as, to mystify a passage of Scripture.
To perplex the mind of; to puzzle; to impose upon the credulity of ; as, to mystify an opponent.


nameless ::: 1. Defying description; inexpressible. 2. Having or bearing no name. Nameless, namelessness, Namelessness.

name ::: n. --> The title by which any person or thing is known or designated; a distinctive specific appellation, whether of an individual or a class.
A descriptive or qualifying appellation given to a person or thing, on account of a character or acts.
Reputed character; reputation, good or bad; estimation; fame; especially, illustrious character or fame; honorable estimation; distinction.


negation ::: adv. --> The act of denying; assertion of the nonreality or untruthfulness of anything; declaration that something is not, or has not been, or will not be; denial; -- the opposite of affirmation.
Description or definition by denial, exclusion, or exception; statement of what a thing is not, or has not, from which may be inferred what it is or has.


neurography ::: n. --> A description of the nerves.

No-man"s-land. ::: Sri Aurobindo: "As to the two lines with ‘no man"s land" there can be no capital in the first line because there it is a description while the capital is needed in the other line, because the phrase has acquired there the force of a name or appellation. I am not sure about the hyphen; it could be put but the no hyphen might be better as it suggests that no one in particular has as yet got possession.” Letters on Savitri.

nondescript ::: a. --> Not hitherto described; novel; hence, odd; abnormal; unclassifiable. ::: n. --> A thing not yet described; that of which no account or explanation has been given; something abnormal, or hardly classifiable.

nosography ::: n. --> A description or classification of diseases.

numismatography ::: n. --> A treatise on, or description of, coins and medals.

obscure ::: superl. --> Covered over, shaded, or darkened; destitute of light; imperfectly illuminated; dusky; dim.
Of or pertaining to darkness or night; inconspicuous to the sight; indistinctly seen; hidden; retired; remote from observation; unnoticed.
Not noticeable; humble; mean.
Not easily understood; not clear or legible; abstruse or blind; as, an obscure passage or inscription.


obverse ::: a. --> Having the base, or end next the attachment, narrower than the top, as a leaf.
The face of a coin which has the principal image or inscription upon it; -- the other side being the reverse.
Anything necessarily involved in, or answering to, another; the more apparent or conspicuous of two possible sides, or of two corresponding things.


oceanography ::: n. --> A description of the ocean.

odontography ::: n. --> A description of the teeth.

offertory ::: n. --> The act of offering, or the thing offered.
An anthem chanted, or a voluntary played on the organ, during the offering and first part of the Mass.
That part of the Mass which the priest reads before uncovering the chalice to offer up the elements for consecration.
The oblation of the elements.
The Scripture sentences said or sung during the collection of the offerings.


ogham ::: n. --> A particular kind of writing practiced by the ancient Irish, and found in inscriptions on stones, metals, etc.

oracle ::: n. --> The answer of a god, or some person reputed to be a god, to an inquiry respecting some affair or future event, as the success of an enterprise or battle.
Hence: The deity who was supposed to give the answer; also, the place where it was given.
The communications, revelations, or messages delivered by God to the prophets; also, the entire sacred Scriptures -- usually in the plural.


oratorio ::: n. --> A more or less dramatic text or poem, founded on some Scripture nerrative, or great divine event, elaborately set to music, in recitative, arias, grand choruses, etc., to be sung with an orchestral accompaniment, but without action, scenery, or costume, although the oratorio grew out of the Mysteries and the Miracle and Passion plays, which were acted.
Performance or rendering of such a composition.


ordinance ::: n. --> Orderly arrangement; preparation; provision.
A rule established by authority; a permanent rule of action; a statute, law, regulation, rescript, or accepted usage; an edict or decree; esp., a local law enacted by a municipal government; as, a municipal ordinance.
An established rite or ceremony.
Rank; order; station.
Ordnance; cannon.


organography ::: n. --> A description of the organs of animals or plants.

original ::: a. --> Pertaining to the origin or beginning; preceding all others; first in order; primitive; primary; pristine; as, the original state of man; the original laws of a country; the original inventor of a process.
Not copied, imitated, or translated; new; fresh; genuine; as, an original thought; an original process; the original text of Scripture.
Having the power to suggest new thoughts or combinations


orology ::: n. --> The science or description of mountains.

orthodox ::: a. --> Sound in opinion or doctrine, especially in religious doctrine; hence, holding the Christian faith; believing the doctrines taught in the Scriptures; -- opposed to heretical and heterodox; as, an orthodox Christian.
According or congruous with the doctrines of Scripture, the creed of a church, the decree of a council, or the like; as, an orthodox opinion, book, etc.
Approved; conventional.


orthodoxy ::: n. --> Soundness of faith; a belief in the doctrines taught in the Scriptures, or in some established standard of faith; -- opposed to heterodoxy or to heresy.
Consonance to genuine Scriptural doctrines; -- said of moral doctrines and beliefs; as, the orthodoxy of a creed.
By extension, said of any correct doctrine or belief.


orthology ::: n. --> The right description of things.

oryctography ::: n. --> Description of fossils.

osteography ::: n. --> The description of bones; osteology.

otography ::: n. --> A description of the ear.

outline ::: n. 1. A line marking the outer contours or boundaries of an object or figure. 2. A style of drawing in which objects are delineated in contours without shading. 3. A general description covering the main points of a subject outlines, world-outline. v. 4. To give the main features or various aspects of; summarize. Also fig. outlined.

overcharge ::: v. t. --> To charge or load too heavily; to burden; to oppress; to cloy.
To fill too full; to crowd.
To charge excessively; to charge beyond a fair rate or price.
To exaggerate; as, to overcharge a description. ::: v. i.


paged ::: indicated the sequence of pages in (a book, manuscript, etc.) by placing numbers or other characters on each leaf; Numbered the pages of; paginated.

paleograph ::: n. --> An ancient manuscript.

paleography ::: n. --> An ancient manner of writing; ancient writings, collectively; as, Punic paleography.
The study of ancient inscriptions and modes of writing; the art or science of deciphering ancient writings, and determining their origin, period, etc., from external characters; diplomatics.


paleontographical ::: a. --> Of or pertaining to the description of fossil remains.

paleontography ::: n. --> The description of fossil remains.

palimpsest ::: a manuscript, typically of papyrus or parchment, that has been written on more than once, with the earlier writing incompletely erased and often legible.

pantography ::: n. --> A general description; entire view of an object.

papyrus ::: n. --> A tall rushlike plant (Cyperus Papyrus) of the Sedge family, formerly growing in Egypt, and now found in Abyssinia, Syria, Sicily, etc. The stem is triangular and about an inch thick.
The material upon which the ancient Egyptians wrote. It was formed by cutting the stem of the plant into thin longitudinal slices, which were gummed together and pressed.
A manuscript written on papyrus; esp., pl., written scrolls made of papyrus; as, the papyri of Egypt or Herculaneum.


park ::: n. --> A piece of ground inclosed, and stored with beasts of the chase, which a man may have by prescription, or the king&

particularism ::: n. --> A minute description; a detailed statement.
The doctrine of particular election.
Devotion to the interests of one&


pedantical ::: a. --> Of or pertaining to a pedant; characteristic of, or resembling, a pedant; ostentatious of learning; as, a pedantic writer; a pedantic description; a pedantical affectation.

petroglyphy ::: n. --> The art or operation of carving figures or inscriptions on rock or stone.

petrography ::: n. --> The art of writing on stone.
The scientific description of rocks; that department of science which investigates the constitution of rocks; petrology.


phantasmatography ::: n. --> A description of celestial phenomena, as rainbows, etc.

pharmacy ::: n. --> The art or practice of preparing and preserving drugs, and of compounding and dispensing medicines according to prescriptions of physicians; the occupation of an apothecary or a pharmaceutical chemist.
A place where medicines are compounded; a drug store; an apothecary&


phenomenology ::: n. --> A description, history, or explanation of phenomena.

phonography ::: n. --> A description of the laws of the human voice, or sounds uttered by the organs of speech.
A representation of sounds by distinctive characters; commonly, a system of shorthand writing invented by Isaac Pitman, or a modification of his system, much used by reporters.
The art of constructing, or using, the phonograph.


phycography ::: n. --> A description of seaweeds.

phylactery ::: n. --> Any charm or amulet worn as a preservative from danger or disease.
A small square box, made either of parchment or of black calfskin, containing slips of parchment or vellum on which are written the scriptural passages Exodus xiii. 2-10, and 11-17, Deut. vi. 4-9, 13-22. They are worn by Jews on the head and left arm, on week-day mornings, during the time of prayer.
Among the primitive Christians, a case in which the


phytography ::: n. --> The science of describing plants in a systematic manner; also, a description of plants.

phytology ::: n. --> The science of plants; a description of the kinds and properties of plants; botany.

picture ::: 1. A visual representation or image painted, drawn, photographed, or otherwise rendered on a flat surface. 2. A visible image however produced. 3. A particular image or reality as portrayed in an account or description; depiction; version. pictures. (See also moving picture (‘s).)

placebo ::: n. --> The first antiphon of the vespers for the dead.
A prescription intended to humor or satisfy.


pneumatology ::: n. --> The doctrine of, or a treatise on, air and other elastic fluids. See Pneumatics, 1.
The science of spiritual being or phenomena of any description.


pneumography ::: n. --> A description of the lungs.

polyautography ::: n. --> The act or practice of multiplying copies of one&

polypharmacy ::: n. --> The act or practice of prescribing too many medicines.
A prescription made up of many medicines or ingredients.


portrait ::: n. --> The likeness of a person, painted, drawn, or engraved; commonly, a representation of the human face painted from real life.
Hence, any graphic or vivid delineation or description of a person; as, a portrait in words. ::: v. t. --> To portray; to draw.


portrayal ::: n. --> The act or process of portraying; description; delineation.

post- ::: --> A prefix signifying behind, back, after; as, postcommissure, postdot, postscript.

postscripted ::: a. --> Having a postscript; added in a postscript.

postscript ::: n. --> A paragraph added to a letter after it is concluded and signed by the writer; an addition made to a book or composition after the main body of the work has been finished, containing something omitted, or something new occurring to the writer.

postillate ::: v. t. --> To explain by marginal notes; to postil. ::: v. i. --> To write postils; to comment.
To preach by expounding Scripture verse by verse, in regular order.


postillation ::: n. --> The act of postillating; exposition of Scripture in preaching.

postillator ::: n. --> One who postillates; one who expounds the Scriptures verse by verse.

postil ::: n. --> Originally, an explanatory note in the margin of the Bible, so called because written after the text; hence, a marginal note; a comment.
A short homily or commentary on a passage of Scripture; as, the first postils were composed by order of Charlemagne. ::: v. t.


postscribe ::: v. t. --> To make a postscript.

potamography ::: n. --> An account or description of rivers; potamology.

pounce ::: n. --> A fine powder, as of sandarac, or cuttlefish bone, -- formerly used to prevent ink from spreading on manuscript.
Charcoal dust, or some other colored powder for making patterns through perforated designs, -- used by embroiderers, lace makers, etc. ::: v. t.


preach ::: v. i. --> To proclaim or publish tidings; specifically, to proclaim the gospel; to discourse publicly on a religious subject, or from a text of Scripture; to deliver a sermon.
To give serious advice on morals or religion; to discourse in the manner of a preacher. ::: v. t.


prescript ::: a. --> Directed; prescribed. ::: n. --> Direction; precept; model prescribed.
A medical prescription.


prescriptibility ::: n. --> The quality or state of being prescriptible.

prescriptible ::: a. --> Depending on, or derived from, prescription; proper to be prescribed.

prescription ::: n. --> The act of prescribing, directing, or dictating; direction; precept; also, that which is prescribed.
A direction of a remedy or of remedies for a disease, and the manner of using them; a medical recipe; also, a prescribed remedy.
A prescribing for title; the claim of title to a thing by virtue immemorial use and enjoyment; the right or title acquired by possession had during the time and in the manner fixed by


prescriptive ::: a. --> Consisting in, or acquired by, immemorial or long-continued use and enjoyment; as, a prescriptive right of title; pleading the continuance and authority of long custom.

prescriptively ::: adv. --> By prescription.

preceptive ::: a. --> Containing or giving precepts; of the nature of precepts; didactic; as, the preceptive parts of the Scriptures.

presence ::: 1. The state or fact of being present; current existence or occurrence. 2. A divine, spiritual, or supernatural spirit or influence felt or conceived as present. 3. The immediate proximity of someone or something.

Sri Aurobindo: "It is intended by the word Presence to indicate the sense and perception of the Divine as a Being, felt as present in one"s existence and consciousness or in relation with it, without the necessity of any further qualification or description. Thus, of the ‘ineffable Presence" it can only be said that it is there and nothing more can or need be said about it, although at the same time one knows that all is there, personality and impersonality, Power and Light and Ananda and everything else, and that all these flow from that indescribable Presence. The word may be used sometimes in a less absolute sense, but that is always the fundamental significance, — the essential perception of the essential Presence supporting everything else.” *Letters on Yoga

"Beyond mind on spiritual and supramental levels dwells the Presence, the Truth, the Power, the Bliss that can alone deliver us from these illusions, display the Light of which our ideals are tarnished disguises and impose the harmony that shall at once transfigure and reconcile all the parts of our nature.” Essays Divine and Human

"But if we learn to live within, we infallibly awaken to this presence within us which is our more real self, a presence profound, calm, joyous and puissant of which the world is not the master — a presence which, if it is not the Lord Himself, is the radiation of the Lord within.” *The Life Divine

"The true soul secret in us, — subliminal, we have said, but the word is misleading, for this presence is not situated below the threshold of waking mind, but rather burns in the temple of the inmost heart behind the thick screen of an ignorant mind, life and body, not subliminal but behind the veil, — this veiled psychic entity is the flame of the Godhead always alight within us, inextinguishable even by that dense unconsciousness of any spiritual self within which obscures our outward nature. It is a flame born out of the Divine and, luminous inhabitant of the Ignorance, grows in it till it is able to turn it towards the Knowledge. It is the concealed Witness and Control, the hidden Guide, the Daemon of Socrates, the inner light or inner voice of the mystic. It is that which endures and is imperishable in us from birth to birth, untouched by death, decay or corruption, an indestructible spark of the Divine.” *The Life Divine

"If we need any personal and inner witness to this indivisible All-Consciousness behind the ignorance, — all Nature is its external proof, — we can get it with any completeness only in our deeper inner being or larger and higher spiritual state when we draw back behind the veil of our own surface ignorance and come into contact with the divine Idea and Will behind it. Then we see clearly enough that what we have done by ourselves in our ignorance was yet overseen and guided in its result by the invisible Omniscience; we discover a greater working behind our ignorant working and begin to glimpse its purpose in us: then only can we see and know what now we worship in faith, recognise wholly the pure and universal Presence, meet the Lord of all being and all Nature.” *The Life Divine

"The presence of the Spirit is there in every living being, on every level, in all things, and because it is there, the experience of Sachchidananda, of the pure spiritual existence and consciousness, of the delight of a divine presence, closeness, contact can be acquired through the mind or the heart or the life-sense or even through the physical consciousness; if the inner doors are flung sufficiently open, the light from the sanctuary can suffuse the nearest and the farthest chambers of the outer being.” *The Life Divine

"There is a secret divine Will, eternal and infinite, omniscient and omnipotent, that expresses itself in the universality and in each particular of all these apparently temporal and finite inconscient or half-conscient things. This is the Power or Presence meant by the Gita when it speaks of the Lord within the heart of all existences who turns all creatures as if mounted on a machine by the illusion of Nature.” *The Synthesis of Yoga

"For what Yoga searches after is not truth of thought alone or truth of mind alone, but the dynamic truth of a living and revealing spiritual experience. There must awake in us a constant indwelling and enveloping nearness, a vivid perception, a close feeling and communion, a concrete sense and contact of a true and infinite Presence always and everywhere. That Presence must remain with us as the living, pervading Reality in which we and all things exist and move and act, and we must feel it always and everywhere, concrete, visible, inhabiting all things; it must be patent to us as their true Self, tangible as their imperishable Essence, met by us closely as their inmost Spirit. To see, to feel, to sense, to contact in every way and not merely to conceive this Self and Spirit here in all existences and to feel with the same vividness all existences in this Self and Spirit, is the fundamental experience which must englobe all other knowledge.” *The Synthesis of Yoga

"One must have faith in the Master of our life and works, even if for a long time He conceals Himself, and then in His own right time He will reveal His Presence.” *Letters on Yoga

"They [the psychic being and the Divine Presence in the heart] are quite different things. The psychic being is one"s own individual soul-being. It is not the Divine, though it has come from the Divine and develops towards the Divine.” *Letters on Yoga

"For it is quietness and inwardness that enable one to feel the Presence.” *Letters on Yoga

"Beyond mind on spiritual and supramental levels dwells the Presence, the Truth, the Power, the Bliss that can alone deliver us from these illusions, display the Light of which our ideals are tarnished disguises and impose the harmony that shall at once transfigure and reconcile all the parts of our nature.” *Essays Divine and Human

The Mother: "For, in human beings, here is a presence, the most marvellous Presence on earth, and except in a few very rare cases which I need not mention here, this presence lies asleep in the heart — not in the physical heart but the psychic centre — of all beings. And when this Splendour is manifested with enough purity, it will awaken in all beings the echo of his Presence.” Words of the Mother, MCW, Vol. 15.


presence ::: “It is intended by the word Presence to indicate the sense and perception of the Divine as a Being, felt as present in one›s existence and consciousness or in relation with it, without the necessity of any further qualification or description. Thus, of the ‘ineffable Presence’ it can only be said that it is there and nothing more can or need be said about it, although at the same time one knows that all is there, personality and impersonality, Power and Light and Ananda and everything else, and that all these flow from that indescribable Presence. The word may be used sometimes in a less absolute sense, but that is always the fundamental significance,—the essential perception of the essential Presence supporting everything else.” Letters on Yoga

proscriptional ::: a. --> Proscriptive.

proscriptionist ::: n. --> One who proscribes.

proscription ::: n. --> The act of proscribing; a dooming to death or exile; outlawry; specifically, among the ancient Romans, the public offer of a reward for the head of a political enemy; as, under the triumvirate, many of the best Roman citizens fell by proscription.
The state of being proscribed; denunciation; interdiction; prohibition.


proscriptive ::: a. --> Of or pertaining to proscription; consisting in, or of the nature of, proscription; proscribing.

proscript ::: n. --> A proscription; a prohibition; an interdict.
One who is proscribed.


professor ::: n. --> One who professed, or makes open declaration of, his sentiments or opinions; especially, one who makes a public avowal of his belief in the Scriptures and his faith in Christ, and thus unites himself to the visible church.
One who professed, or publicly teaches, any science or branch of learning; especially, an officer in a university, college, or other seminary, whose business it is to read lectures, or instruct students, in a particular branch of learning; as a professor of


prophecy ::: n. --> A declaration of something to come; a foretelling; a prediction; esp., an inspired foretelling.
A book of prophecies; a history; as, the prophecy of Ahijah.
Public interpretation of Scripture; preaching; exhortation or instruction.


protocanonical ::: a. --> Of or pertaining to the first canon, or that which contains the authorized collection of the books of Scripture; -- opposed to deutero-canonical.

psalmist ::: n. --> A writer or composer of sacred songs; -- a title particularly applied to David and the other authors of the Scriptural psalms.
A clerk, precentor, singer, or leader of music, in the church.


pseudepigraphy ::: n. --> The ascription of false names of authors to works.

psychography ::: n. --> A description of the phenomena of mind.
Spirit writing.


pterylography ::: n. --> The study or description of the arrangement of feathers, or of the pterylae, of birds.

puranas. ::: a number of ancient scriptures attributed to the sage Vyasa that teach spiritual principles and practices through stories about sacred historical personages which often include their teachings given in conversations

quacksalver ::: n. --> One who boasts of his skill in medicines and salves, or of the efficacy of his prescriptions; a charlatan; a quack; a mountebank.

reader ::: n. --> One who reads.
One whose distinctive office is to read prayers in a church.
One who reads lectures on scientific subjects.
A proof reader.
One who reads manuscripts offered for publication and advises regarding their merit.
One who reads much; one who is studious.


rescription ::: n. --> A writing back; the answering of a letter.

rescriptive ::: a. --> Pertaining to, or answering the purpose of, a rescript; hence, deciding; settling; determining.

rescriptively ::: adv. --> By rescript.

rescript ::: v. t. --> The answer of an emperor when formallyconsulted by particular persons on some difficult question; hence, an edict or decree.
The official written answer of the pope upon a question of canon law, or morals.
A counterpart.


recipe ::: n. --> A formulary or prescription for making some combination, mixture, or preparation of materials; a receipt; especially, a prescription for medicine.

record ::: v. t. --> To recall to mind; to recollect; to remember; to meditate.
To repeat; to recite; to sing or play.
To preserve the memory of, by committing to writing, to printing, to inscription, or the like; to make note of; to write or enter in a book or on parchment, for the purpose of preserving authentic evidence of; to register; to enroll; as, to record the proceedings of a court; to record historical events.


register ::: n. --> A written account or entry; an official or formal enumeration, description, or record; a memorial record; a list or roll; a schedule.
A record containing a list and description of the merchant vessels belonging to a port or customs district.
A certificate issued by the collector of customs of a port or district to the owner of a vessel, containing the description of a vessel, its name, ownership, and other material facts. It is kept


regulation ::: n. --> The act of regulating, or the state of being regulated.
A rule or order prescribed for management or government; prescription; a regulating principle; a governing direction; precept; law; as, the regulations of a society or a school.


representation ::: n. --> The act of representing, in any sense of the verb.
That which represents.
A likeness, a picture, or a model; as, a representation of the human face, or figure, and the like.
A dramatic performance; as, a theatrical representation; a representation of Hamlet.
A description or statement; as, the representation of an historian, of a witness, or an advocate.


review ::: n. --> To view or see again; to look back on.
To go over and examine critically or deliberately.
To reconsider; to revise, as a manuscript before printing it, or a book for a new edition.
To go over with critical examination, in order to discover exellences or defects; hence, to write a critical notice of; as, to review a new novel.
To make a formal or official examination of the state of,


revisal ::: n. --> The act of revising, or reviewing and reexamining for correction and improvement; revision; as, the revisal of a manuscript; the revisal of a proof sheet; the revisal of a treaty.

rider ::: n. --> One who, or that which, rides.
Formerly, an agent who went out with samples of goods to obtain orders; a commercial traveler.
One who breaks or manages a horse.
An addition or amendment to a manuscript or other document, which is attached on a separate piece of paper; in legislative practice, an additional clause annexed to a bill while in course of passage; something extra or burdensome that is imposed.


ronde ::: n. --> A kind of script in which the heavy strokes are nearly upright, giving the characters when taken together a round look.

ro-setta stone ::: --> A stone found at Rosetta, in Egypt, bearing a trilingual inscription, by aid of which, with other inscriptions, a key was obtained to the hieroglyphics of ancient Egypt.

rubric ::: n. --> That part of any work in the early manuscripts and typography which was colored red, to distinguish it from other portions.
A titlepage, or part of it, especially that giving the date and place of printing; also, the initial letters, etc., when printed in red.
The title of a statute; -- so called as being anciently written in red letters.


rule ::: a. --> That which is prescribed or laid down as a guide for conduct or action; a governing direction for a specific purpose; an authoritative enactment; a regulation; a prescription; a precept; as, the rules of various societies; the rules governing a school; a rule of etiquette or propriety; the rules of cricket.
Uniform or established course of things.
Systematic method or practice; as, my ule is to rise at six o&


sailer ::: n. --> A sailor.
A ship or other vessel; -- with qualifying words descriptive of speed or manner of sailing; as, a heavy sailer; a fast sailer.


scenography ::: n. --> The art or act of representing a body on a perspective plane; also, a representation or description of a body, in all its dimensions, as it appears to the eye.

scrip ::: n. --> A small bag; a wallet; a satchel.
A small writing, certificate, or schedule; a piece of paper containing a writing.
A preliminary certificate of a subscription to the capital of a bank, railroad, or other company, or for a share of other joint property, or a loan, stating the amount of the subscription and the date of the payment of the installments; as, insurance scrip, consol scrip, etc. When all the installments are paid, the scrip is exchanged


Scripture Wonderful

seismography ::: n. --> A writing about, or a description of, earthquakes.
The art of registering the shocks and undulatory movements of earthquakes.


semiography ::: n. --> A description of the signs of disease. ::: --> Alt. of Semiological

sepulchral ::: a. --> Of or pertaining to burial, to the grave, or to monuments erected to the memory of the dead; as, a sepulchral stone; a sepulchral inscription.
Unnaturally low and grave; hollow in tone; -- said of sound, especially of the voice.


sermon ::: n. --> A discourse or address; a talk; a writing; as, the sermons of Chaucer.
Specifically, a discourse delivered in public, usually by a clergyman, for the purpose of religious instruction and grounded on some text or passage of Scripture.
Hence, a serious address; a lecture on one&


shastra &

shastri &

shatkasampatti &

shruti &

sigla ::: n. pl. --> The signs, abbreviations, letters, or characters standing for words, shorthand, etc., in ancient manuscripts, or on coins, medals, etc.

signalment ::: n. --> The act of signaling, or of signalizing; hence, description by peculiar, appropriate, or characteristic marks.

silva ::: n. --> The forest trees of a region or country, considered collectively.
A description or history of the forest trees of a country.


skeptical ::: a. --> Of or pertaining to a sceptic or skepticism; characterized by skepticism; hesitating to admit the certainly of doctrines or principles; doubting of everything.
Doubting or denying the truth of revelation, or the sacred Scriptures.


smriti &

spatula ::: n. --> An implement shaped like a knife, flat, thin, and somewhat flexible, used for spreading paints, fine plasters, drugs in compounding prescriptions, etc. Cf. Palette knife, under Palette.

specification ::: n. --> The act of specifying or determining by a mark or limit; notation of limits.
The designation of particulars; particular mention; as, the specification of a charge against an officer.
A written statement containing a minute description or enumeration of particulars, as of charges against a public officer, the terms of a contract, the description of an invention, as in a patent; also, a single article, item, or particular, an allegation of a


sphenography ::: n. --> The art of writing in cuneiform characters, or of deciphering inscriptions made in such characters.

splenography ::: n. --> A description of the spleen.

sprechery ::: n. --> Movables of an inferior description; especially, such as have been collected by depredation.

sraddha. ::: earnestness; faith; faith in the scriptures and the Guru; confidence or assurance that arises from personal experience

stich ::: n. --> A verse, of whatever measure or number of feet.
A line in the Scriptures; specifically (Hebrew Scriptures), one of the rhythmic lines in the poetical books and passages of the Old Treatment, as written in the oldest Hebrew manuscripts and in the Revised Version of the English Bible.
A row, line, or rank of trees.


stichometry ::: n. --> Measurement of books by the number of lines which they contain.
Division of the text of a book into lines; especially, the division of the text of books into lines accommodated to the sense, -- a method of writing manuscripts used before punctuation was adopted.


stratography ::: n. --> A description of an army, or of what belongs to an army.

table ::: 1. An article of furniture supported by one or more vertical legs and having a flat horizontal surface. 2. An engraved slab or tablet bearing an inscription or a device. 3. tables. The engraved tablets carrying sacred laws, etc. 4. An orderly arrangement of data, especially one in which the data are arranged in columns and rows in an essentially rectangular form.

table ::: n. --> A smooth, flat surface, like the side of a board; a thin, flat, smooth piece of anything; a slab.
A thin, flat piece of wood, stone, metal, or other material, on which anything is cut, traced, written, or painted; a tablet
a memorandum book.
Any smooth, flat surface upon which an inscription, a drawing, or the like, may be produced.
Hence, in a great variety of applications: A condensed


tablet ::: 1. A flat slab or surface, especially one bearing or intended to bear an inscription, carving, or the like. 2. tablets. Slabs of stone or wood suitable for bearing an inscription; a set of such [leaves] fastened together.

tablet ::: n. --> A small table or flat surface.
A flat piece of any material on which to write, paint, draw, or engrave; also, such a piece containing an inscription or a picture.
Hence, a small picture; a miniature.
A kind of pocket memorandum book.
A flattish cake or piece; as, tablets of arsenic were formerly worn as a preservative against the plague.


targum ::: n. --> A translation or paraphrase of some portion of the Old Testament Scriptures in the Chaldee or Aramaic language or dialect.

Tehmi: “It is Ananda. This is preceded by a description of Satchitananda.”

Tehmi: “The Divine Mother is the Eternal Goddess—in a description of the New Creation.”

tersanctus ::: n. --> An ancient ascription of praise (containing the word "Holy" -- in its Latin form, "Sanctus" -- thrice repeated), used in the Mass of the Roman Catholic Church and before the prayer of consecration in the communion service of the Church of England and the Protestant Episcopal Church. Cf. Trisagion.

testaceography ::: n. --> The science which treats of testaceans, or shellfish; the description of shellfish.

testament ::: n. --> A solemn, authentic instrument in writing, by which a person declares his will as to disposal of his estate and effects after his death.
One of the two distinct revelations of God&


text ::: n. --> A discourse or composition on which a note or commentary is written; the original words of an author, in distinction from a paraphrase, annotation, or commentary.
The four Gospels, by way of distinction or eminence.
A verse or passage of Scripture, especially one chosen as the subject of a sermon, or in proof of a doctrine.
Hence, anything chosen as the subject of an argument, literary composition, or the like; topic; theme.


textuary ::: a. --> Contained in the text; textual.
Serving as a text; authoritative. ::: n. --> One who is well versed in the Scriptures; a textman.
One who adheres strictly or rigidly to the text.


thanatology ::: n. --> A description, or the doctrine, of death.

theanthropism ::: n. --> A state of being God and man.
The ascription of human atributes to the Deity, or to a polytheistic deity; anthropomorphism.


"The Gita in later chapters speaks highly of the Veda and the Upanishads. They are divine Scriptures, they are the Word. The Lord himself is the knower of Veda and the author of Vedanta, vedavid vedântakrt; the Lord is the one object of knowledge in all the Vedas, sarvair vedair aham eva vedyah, a language which implies that the word Veda means the book of knowledge and that these Scriptures deserve their appellation.” Essays on the Gita

“The Gita in later chapters speaks highly of the Veda and the Upanishads. They are divine Scriptures, they are the Word. The Lord himself is the knower of Veda and the author of Vedanta, vedavid vedântakrt; the Lord is the one object of knowledge in all the Vedas, sarvair vedair aham eva vedyah, a language which implies that the word Veda means the book of knowledge and that these Scriptures deserve their appellation.” Essays on the Gita

“The Gita in later chapters speaks highly of the Veda and the Upanishads. They are divine Scriptures, they are the Word. The Lord himself is the knower of Veda and the author of Vedanta, vedavidvedântakrt; the Lord is the one object of knowledge in all the Vedas, sarvairvedairahamevavedyah, a language which implies that the word Veda means the book of knowledge and that these Scriptures deserve their appellation.” Essays on the Gita

theology ::: n. --> The science of God or of religion; the science which treats of the existence, character, and attributes of God, his laws and government, the doctrines we are to believe, and the duties we are to practice; divinity; (as more commonly understood) "the knowledge derivable from the Scriptures, the systematic exhibition of revealed truth, the science of Christian faith and life."

"The real source of knowledge is the Lord in the heart; ‘I am seated in the heart of every man and from me is knowledge," says the Gita; the Scripture is only a verbal form of that inner Veda, of that self-luminous Reality, it is sabdabrahma: the mantra, says the Veda, has risen from the heart, from the secret place where is the seat of the truth, sadanâd rtasya, guhâyâm. That origin is its sanction; but still the infinite Truth is greater than its word. Nor shall you say of any Scripture that it alone is all-sufficient and no other truth can be admitted, as the Vedavadins said of the Veda, nânyad astîti vâdinah. This is a saving and liberating word which must be applied to all the Scriptures of the world. Take all the Scriptures that are or have been, Bible and Koran and the books of the Chinese, Veda and Upanishads and Purana and Tantra and Shastra and the Gita itself and the sayings of thinkers and sages, prophets and Avatars, still you shall not say that there is nothing else or that the truth your intellect cannot find there is not true because you cannot find it there. That is the limited thought of the sectarian or the composite thought of the eclectic religionist, not the untrammelled truth-seeking of the free and illumined mind and God-experienced soul. Heard or unheard before, that always is the truth which is seen by the heart of man in its illumined depths or heard within from the Master of all knowledge, the knower of the eternal Veda.” Essays on the Gita*

“The real source of knowledge is the Lord in the heart; ‘I am seated in the heart of every man and from me is knowledge,’ says the Gita; the Scripture is only a verbal form of that inner Veda, of that self-luminous Reality, it is sabdabrahma: the mantra, says the Veda, has risen from the heart, from the secret place where is the seat of the truth, sadanâd rtasya, guhâyâm. That origin is its sanction; but still the infinite Truth is greater than its word. Nor shall you say of any Scripture that it alone is all-sufficient and no other truth can be admitted, as the Vedavadins said of the Veda, nânyad astîti vâdinah. This is a saving and liberating word which must be applied to all the Scriptures of the world. Take all the Scriptures that are or have been, Bible and Koran and the books of the Chinese, Veda and Upanishads and Purana and Tantra and Shastra and the Gita itself and the sayings of thinkers and sages, prophets and Avatars, still you shall not say that there is nothing else or that the truth your intellect cannot find there is not true because you cannot find it there. That is the limited thought of the sectarian or the composite thought of the eclectic religionist, not the untrammelled truth-seeking of the free and illumined mind and God-experienced soul. Heard or unheard before, that always is the truth which is seen by the heart of man in its illumined depths or heard within from the Master of all knowledge, the knower of the eternal Veda.” Essays on the Gita

“The real source of knowledge is the Lord in the heart; ‘I am seated in the heart of every man and from me is knowledge,’ says the Gita; the Scripture is only a verbal form of that inner Veda, of that self-luminous Reality, it is sabdabrahma: the mantra, says the Veda, has risen from the heart, from the secret place where is the seat of the truth, sadanâdrtasya, guhâyâm. That origin is its sanction; but still the infinite Truth is greater than its word. Nor shall you say of any Scripture that it alone is all-sufficient and no other truth can be admitted, as the Vedavadins said of the Veda, nânyadastîtivâdinah. This is a saving and liberating word which must be applied to all the Scriptures of the world. Take all the Scriptures that are or have been, Bible and Koran and the books of the Chinese, Veda and Upanishads and Purana and Tantra and Shastra and the Gita itself and the sayings of thinkers and sages, prophets and Avatars, still you shall not say that there is nothing else or that the truth your intellect cannot find there is not true because you cannot find it there. That is the limited thought of the sectarian or the composite thought of the eclectic religionist, not the untrammelled truth-seeking of the free and illumined mind and God-experienced soul. Heard or unheard before, that always is the truth which is seen by the heartof man in its illumined depths or heard within from the Master of all knowledge, the knower of the eternal Veda.” Essays on the Gita

The Unmanifested Supreme is beyond all definition and description by mind or speech; no definition the mind can make, affirmative or negative, can be at all expressive of it or adequate.

title ::: n. --> An inscription put over or upon anything as a name by which it is known.
The inscription in the beginning of a book, usually containing the subject of the work, the author&


topographical ::: --> Of or pertaining to topography; descriptive of a place.

topography ::: n. --> The description of a particular place, town, manor, parish, or tract of land; especially, the exact and scientific delineation and description in minute detail of any place or region.

toreumatography ::: n. --> A description of sculpture such as bas-relief in metal.

toreumatology ::: n. --> The art or the description of scupture such as bas-relief in metal; toreumatography.

Tracing the scriptural verses of her laws

traditional ::: a. --> Of or pertaining to tradition; derived from tradition; communicated from ancestors to descendants by word only; transmitted from age to age without writing; as, traditional opinions; traditional customs; traditional expositions of the Scriptures.
Observant of tradition; attached to old customs; old-fashioned.


traditionary ::: a. --> Traditional. ::: n. --> One, among the Jews, who acknowledges the authority of traditions, and explains the Scriptures by them.

traditor ::: n. --> A deliverer; -- a name of infamy given to Christians who delivered the Scriptures, or the goods of the church, to their persecutors to save their lives.

transcription ::: n. --> The act or process of transcribing, or copying; as, corruptions creep into books by repeated transcriptions.
A copy; a transcript.
An arrangement of a composition for some other instrument or voice than that for which it was originally written, as the translating of a song, a vocal or instrumental quartet, or even an orchestral work, into a piece for the piano; an adaptation; an arrangement; -- a name applied by modern composers for the piano to a


transcriptive ::: a. --> Done as from a copy; having the style or appearance of a transcription.

transcript ::: n. --> That which has been transcribed; a writing or composition consisting of the same words as the original; a written copy.
A copy of any kind; an imitation.
A written version of what was said orally; as, a transcript of a trial.


transferography ::: n. --> The act or process of copying inscriptions, or the like, by making transfers.

translation ::: n. --> The act of translating, removing, or transferring; removal; also, the state of being translated or removed; as, the translation of Enoch; the translation of a bishop.
The act of rendering into another language; interpretation; as, the translation of idioms is difficult.
That which is obtained by translating something a version; as, a translation of the Scriptures.
A transfer of meaning in a word or phrase, a metaphor;


tropist ::: n. --> One who deals in tropes; specifically, one who avoids the literal sense of the language of Scripture by explaining it as mere tropes and figures of speech.

trump ::: n. --> A wind instrument of music; a trumpet, or sound of a trumpet; -- used chiefly in Scripture and poetry.
A winning card; one of a particular suit (usually determined by chance for each deal) any card of which takes any card of the other suits.
An old game with cards, nearly the same as whist; -- called also ruff.
A good fellow; an excellent person.


uhlan ::: n. --> One of a certain description of militia among the Tartars.
One of a kind of light cavalry of Tartaric origin, first introduced into European armies in Poland. They are armed with lances, pistols, and sabers, and are employed chiefly as skirmishers.


umbilicus ::: n. --> The depression, or mark, in the median line of the abdomen, which indicates the point where the umbilical cord separated from the fetus; the navel.
An ornamented or painted ball or boss fastened at each end of the stick on which manuscripts were rolled.
The hilum.
A depression or opening in the center of the base of many spiral shells.


uncial ::: a. --> Of, pertaining to, or designating, a certain style of letters used in ancient manuscripts, esp. in Greek and Latin manuscripts. The letters are somewhat rounded, and the upstrokes and downstrokes usually have a slight inclination. These letters were used as early as the 1st century b. c., and were seldom used after the 10th century a. d., being superseded by the cursive style. ::: n.

uncials ::: letters having large rounded forms (not joined to each other) characteristic of early Greek and Latin manuscripts; also (in looser use), of large size, capital.

unicorn ::: n. --> A fabulous animal with one horn; the monoceros; -- often represented in heraldry as a supporter.
A two-horned animal of some unknown kind, so called in the Authorized Version of the Scriptures.
Any large beetle having a hornlike prominence on the head or prothorax.
The larva of a unicorn moth.
The kamichi; -- called also unicorn bird.


unto ::: prep. --> To; -- now used only in antiquated, formal, or scriptural style. See To.
Until; till. ::: conj. --> Until; till.


uranography ::: n. --> A description or plan of the heavens and the heavenly bodies; the construction of celestial maps, globes, etc.; uranology.

usucaption ::: n. --> The acquisition of the title or right to property by the uninterrupted possession of it for a certain term prescribed by law; -- the same as prescription in common law.

vessel ::: n. --> A hollow or concave utensil for holding anything; a hollow receptacle of any kind, as a hogshead, a barrel, a firkin, a bottle, a kettle, a cup, a bowl, etc.
A general name for any hollow structure made to float upon the water for purposes of navigation; especially, one that is larger than a common rowboat; as, a war vessel; a passenger vessel.
Fig.: A person regarded as receiving or containing something; esp. (Script.), one into whom something is conceived as


vignette ::: n. --> A running ornament consisting of leaves and tendrils, used in Gothic architecture.
A decorative design, originally representing vine branches or tendrils, at the head of a chapter, of a manuscript or printed book, or in a similar position; hence, by extension, any small picture in a book; hence, also, as such pictures are often without a definite bounding line, any picture, as an engraving, a photograph, or the like, which vanishes gradually at the edge.


volunteer ::: a. --> One who enters into, or offers for, any service of his own free will.
One who enters into service voluntarily, but who, when in service, is subject to discipline and regulations like other soldiers; -- opposed to conscript; specifically, a voluntary member of the organized militia of a country as distinguished from the standing army.
A grantee in a voluntary conveyance; one to whom a


vulgate ::: a. --> An ancient Latin version of the Scripture, and the only version which the Roman Church admits to be authentic; -- so called from its common use in the Latin Church.
Of or pertaining to the Vulgate, or the old Latin version of the Scriptures.


warren ::: n. --> A place privileged, by prescription or grant the king, for keeping certain animals (as hares, conies, partridges, pheasants, etc.) called beasts and fowls of warren.
A privilege which one has in his lands, by royal grant or prescription, of hunting and taking wild beasts and birds of warren, to the exclusion of any other person not entering by his permission.
A piece of ground for the breeding of rabbits.
A place for keeping flash, in a river.


"We see that the Absolute, the Self, the Divine, the Spirit, the Being is One; the Transcendental is one, the Cosmic is one: but we see also that beings are many and each has a self, a spirit, a like yet different nature. And since the spirit and essence of things is one, we are obliged to admit that all these many must be that One, and it follows that the One is or has become many; but how can the limited or relative be the Absolute and how can man or beast or bird be the Divine Being? But in erecting this apparent contradiction the mind makes a double error. It is thinking in the terms of the mathematical finite unit which is sole in limitation, the one which is less than two and can become two only by division and fragmentation or by addition and multiplication; but this is an infinite Oneness, it is the essential and infinite Oneness which can contain the hundred and the thousand and the million and billion and trillion. Whatever astronomic or more than astronomic figures you heap and multiply, they cannot overpass or exceed that Oneness; for, in the language of the Upanishad, it moves not, yet is always far in front when you would pursue and seize it. It can be said of it that it would not be the infinite Oneness if it were not capable of an infinite multiplicity; but that does not mean that the One is plural or can be limited or described as the sum of the Many: on the contrary, it can be the infinite Many because it exceeds all limitation or description by multiplicity and exceeds at the same time all limitation by finite conceptual oneness.” The Life Divine

“We see that the Absolute, the Self, the Divine, the Spirit, the Being is One; the Transcendental is one, the Cosmic is one: but we see also that beings are many and each has a self, a spirit, a like yet different nature. And since the spirit and essence of things is one, we are obliged to admit that all these many must be that One, and it follows that the One is or has become many; but how can the limited or relative be the Absolute and how can man or beast or bird be the Divine Being? But in erecting this apparent contradiction the mind makes a double error. It is thinking in the terms of the mathematical finite unit which is sole in limitation, the one which is less than two and can become two only by division and fragmentation or by addition and multiplication; but this is an infinite Oneness, it is the essential and infinite Oneness which can contain the hundred and the thousand and the million and billion and trillion. Whatever astronomic or more than astronomic figures you heap and multiply, they cannot overpass or exceed that Oneness; for, in the language of the Upanishad, it moves not, yet is always far in front when you would pursue and seize it. It can be said of it that it would not be the infinite Oneness if it were not capable of an infinite multiplicity; but that does not mean that the One is plural or can be limited or described as the sum of the Many: on the contrary, it can be the infinite Many because it exceeds all limitation or description by multiplicity and exceeds at the same time all limitation by finite conceptual oneness.” The Life Divine

When you see a buffalo rushing upon you and missing and feel you have escaped a great danger, that is a transcription — the rush of some hostile force represented by the buffalo.

WORLDS. ::: The physical is not the only world ; there are others that we become aware of through dream records, through the subtle senses, through influences and contacts, through imagination, Intuition and vision. There are worlds of a larger subtler life than ours, vital worlds ; worlds in which Mind builds its own forms and figures, mental worlds ; psychic worlds which are the soul’s home ; others above with which we have littfe contact. In each of us there is a mental plane of consciousness, a psychic, a vital, a subtle physical as w’cll as the gross physical and material plane. The same planes are repeated in the cons- ciousness of general Nature. It is when we enter or contact these other planes that we come into conoeciion with the worlds above the physical. In sleep we leave the physical body, only a sub- conscient residue remaining, and enter all planes and all sorts of worlds. In each we see scenes, meet beings, share in happen- ings, come across formations, influences, suggestions which belong to these planes. Even when we are awake, part of us moves in these planes, but their activity goes on behind the veil ; our waking minds are not aware of it. Dreams are often only incoherent constructions of our subcooscient, but others are records (often much mixed and distorted) or transcripts of experiences in these supraphystcal planes. When we do sadbana, this kind of dream becomes very common ; then subconscious dreams cease to predominate.

zoochemistry ::: n. --> Animal chemistry; particularly, the description of the chemical compounds entering into the composition of the animal body, in distinction from biochemistry.

zoogeography ::: n. --> The study or description of the geographical distribution of animals.

zoographical ::: a. --> Of or pertaining to the description of animals.

zoography ::: n. --> A description of animals, their forms and habits.



QUOTES [5 / 5 - 1500 / 2002]


KEYS (10k)

   1 William Stafford
   1 "The Rosicrucian Manuscripts."
   1 Taigen Dan Leighton
   1 Saint Jerome
   1 Delphic Inscription

NEW FULL DB (2.4M)

   46 Anonymous
   18 Martin Luther
   14 Mahatma Gandhi
   14 Charles Spurgeon
   9 Stephen King
   8 John Calvin
   8 Frederick Lenz
   7 Francis Chan
   7 C S Lewis
   7 Charles Haddon Spurgeon
   6 Max Lucado
   5 Saint Jerome
   5 R C Sproul
   5 Michael Caine
   5 D A Carson
   4 William Shakespeare
   4 William H Macy
   4 Steve Maraboli
   4 Rachel Held Evans
   4 N T Wright

1:Its signs stare at us like an unknown script,
   ~ Sri Aurobindo, Savitri, The Secret Knowledge, [T5],
2:Obeying the Eternal's deep command
They have built in the material front of things
This wide world-kindergarten of young souls
Where the infant spirit learns through mind and sense
To read the letters of the cosmic script ~ Sri Aurobindo, Savitri, The Kingdoms and Godheads of the Greater Mind,
3:In mathematics, students are at the mercy of rigidly applied algorithms. They learn to use certain formalisms in certain ways, often effectively, if provided with a pre-arranged signal that a particular formalism is wanted.

In social studies and the humanities, the enemies of understanding are scripts and stereotypes. Students readily believe that events occur in typical ways, and they evoke these scripts even inappropriately. For example, they regard struggles between two parties in a dispute as a "good guy versus bad guy" movie script. ~ Howard Gardner,
4:Driven by her breath across life's tossing deep,
Through the thunder's roar and through the windless hush,
Through fog and mist where nothing more is seen,
He carries her sealed orders in his breast.
Late will he know, opening the mystic script,
Whether to a blank port in the Unseen
He goes or, armed with her fiat, to discover
A new mind and body in the city of God
And enshrine the Immortal in his glory's house
And make the finite one with Infinity.
Across the salt waste of the endless years
Her ocean winds impel his errant boat,
The cosmic waters plashing as he goes,
A rumour around him and danger and a call.
Always he follows in her force's wake.
He sails through life and death and other life,
He travels on through waking and through sleep. ~ Sri Aurobindo, Savitri, 1:4,
5:[4:131] A human being is a material system which time, a form of energy, enters. Probably time enters him also as noos-Mind. Time, the future, contains in it all the events which are going to occur. Therefore when time enters a person as energy, and acting as noos to him, it brings with it in potentium all that will happen to him, like a window shade unrolling to display an unfolding pattern. Events in the future pop into being, into actualization, the present, but until they do, they are not truly real-not yet actualized-but there in an encoded form, like the grooves of an LP before the needle reaches it; the only "music" is where the needle touches-ahead lies only an encoded wiggle along a helical spiral. Thus, dreams deal with the future lying direct ahead, as during the night, the next series of encoded future events begin to move toward actualization: i.e., the present. What is hard to realize is that in a certain very real way these events are inside the person, within his head, so to speak; but only in their potential, encoded form; the arena in which they are actualized is that of space; time, in the present, flows out to fill space-i.e., the spatial universe. This is why we experience déjà vu. We have somehow caught a glimpse now and then of the script unrolling in our head-caught a glimpse in advance, so we feel "I know exactly what I'm going to say next, and what gestures he'll make," etc. Sure; they're encoded-encased, waiting-in time, and time, being energy, has entered you; is burning bright inside, like Blake's tyger. Tyger, tyger, burning bright In the forests of the night. . . . Who framed thy awful symmetry?
   ~ Philip K Dick, Exegesis Of Philip K Dick,

*** WISDOM TROVE ***

1:I would take a bad script and a good director any day against a good script and a bad director. ~ bette-davis, @wisdomtrove
2:If it's a good script I'll do it. And if it's a bad script, and they pay me enough, I'll do it. ~ george-burns, @wisdomtrove
3:Your life is meant to be an epic story. How you think, perform and live today is part of that script. ~ robin-sharma, @wisdomtrove
4:I handed in a script last year and the studio didn't change one word. The word they didn't change was on page 87. ~ steve-martin, @wisdomtrove
5:I don't get involved in casting, budgets, location or promotion. Just the script. And, of course, the promotional tour. Which is fine with me - I'm a novelist. ~ nicholas-sparks, @wisdomtrove
6:I wrote a script, and I gave it to a guy who reads scripts, and he read it, and he liked it, but he said he thinks I ought to re-write it. I said, "Fuck that - I'll just make a copy!" ~ mitch-hedberg, @wisdomtrove
7:There is an ancient script that says, &
8:Finding a good script is really difficult and the scariest thing of all is when they say about a script that's not right, "we will fix it.." It's like before you get on the Titanic and you see a big hole. In process, it's too late. ~ robin-williams, @wisdomtrove
9:Now, before you make a movie, you have to have a script, and before you have a script, you have to have a story; though some avant-garde directors have tried to dispense with the latter item, you'll find their work only at art theaters. ~ arthur-c-carke, @wisdomtrove
10:You can literally script any life that you desire, and the Universe will deliver to you the people, the places, and events just as you decide them to be. For you are a creator of your own experience—you have only to decide it and allow it to be. ~ esther-hicks, @wisdomtrove
11:Write your script. When you see things you don't want, don't think about them, write about them, talk about them, push against them, or join groups that focus on the don't wants... remove your attention from don't wants.. and place them on do wants. ~ rhonda-byrne, @wisdomtrove
12:I've done a number of films. I've been around this. I think the biggest challenge is just getting the script right, the way that you want the script to be. It's really about capturing the complexity of emotions and creating the kind of characters that people will want to watch every week. ~ nicholas-sparks, @wisdomtrove
13:When you're in Hollywood and you're a comedian, everybody wants you to do other things. All right, you're a stand-up comedian, can you write us a script? That's not fair. That's like if I worked hard to become a cook, and I'm a really good cook, they'd say, "OK, you're a cook. Can you farm?" ~ mitch-hedberg, @wisdomtrove
14:I tend to be pretty efficient with my time. I work on a novel for four to five hours a day, and then the rest of my day is spent doing other things, whether it's spending time with my family, or going through and making notes on the script, or working on the marketing. It's just a matter of scheduling. ~ nicholas-sparks, @wisdomtrove
15:You've thrown down the gauntlet. You've brought my wrath down upon your house. Now, to prove that I exist I must kill you. As the child outlives the father, so must the character bury the author. If you are, in fact, my continuing author, then killing you will end my existence as well. Small loss. Such a life, as your puppet, is not worth living. But… If I destroy you and your dreck script, and I still exist… then my existence will be glorious, for I will become my own master. ~ chuck-palahniuk, @wisdomtrove

*** NEWFULLDB 2.4M ***

1:Life is like a B-picture script. ~ Kirk Douglas,
2:I always write the script by myself. ~ Bong Joon ho,
3:The only thing that works is a good script! ~ Kajol,
4:I tend to look for a great script. ~ Virginia Madsen,
5:A script is like a theory of a movie. ~ John C Reilly,
6:Every film starts with the script. ~ Wolfgang Petersen,
7:How can I change me to suit the script? ~ Michael Caine,
8:I learn the whole script before I show up. ~ Lee Majors,
9:I can't remember what my first script was. ~ Tom Stoppard,
10:It's a lot of work to read a crummy script. ~ Bill Murray,
11:The most important thing is the script. ~ Martin Scorsese,
12:Well, I love TV, and I love a good script. ~ Erica Durance,
13:I am here to act only in films with good script. ~ Lara Dutta,
14:I'm a big believer that the script is your bible. ~ Ray Liotta,
15:If it's a terrible script, it's a terrible bore. ~ Julie London,
16:I get so excited about reading a new script. ~ Michelle Dockery,
17:You stick to the script, the script is Bible. ~ Jennifer Garner,
18:I'd love to work on a script in collaboration. ~ Matthew McGrory,
19:Ours, I began to fear, was a script without parts. ~ Andr Aciman,
20:You don't improvise with a Cameron Crowe script. ~ Orlando Bloom,
21:I didn't like the script [of Aquarius], I loved it. ~ Sonia Braga,
22:make a switch, you need to script the critical moves ~ Chip Heath,
23:It is very difficult to win. It's not in my script. ~ Louise Gl ck,
24:Once you crack the script, everything else follows. ~ Ridley Scott,
25:There is no script. Live your life. Soak it all in. ~ Dick Costolo,
26:We are all working from the same dog-eared script. ~ Gillian Flynn,
27:Don’t flip the script on semantics,” Celestial said. ~ Tayari Jones,
28:I can't imagine directing from someone else's script. ~ Tony Gilroy,
29:I always want to read the script before I totally commit. ~ Ice Cube,
30:I wouldn't know a good script if it bit me in the face. ~ Tim Burton,
31:The past is a script we are constantly rewriting. ~ Michael Moorcock,
32:You're often trying to fix a script by shooting it. ~ Jon Turteltaub,
33:A script is not a piece of literature, it's a process. ~ Abel Ferrara,
34:If God is the author of life, there must be a script. ~ Ravi Zacharias,
35:I can't imagine being invested in someone else's script. ~ Miranda July,
36:I would consider a half hour sitcom if the script was good. ~ Sela Ward,
37:The emotion is the music and the script is the libretto. ~ Gregory Peck,
38:The only thing approaching art in a movie is the script. ~ David Bailey,
39:A script is only as good as the director who's making it. ~ Helen McCrory,
40:I hope to be involved in a successful movie script. ~ Kareem Abdul Jabbar,
41:The script and the performances and the style all clicked. ~ Edgar Wright,
42:A woman is just a script, but a cigar is a motion picture. ~ Samuel Fuller,
43:Basically, the actor's job is to pay attention to the script. ~ Joe Morton,
44:I respond to a part just intuitively when I read a script. ~ Ralph Fiennes,
45:I look forward to every script that comes down the pike. ~ Colin Cunningham,
46:You can almost take the book and use it as a script. ~ Michael Winterbottom,
47:A lot of times, the script is the thing they care about least. ~ Kevin Bacon,
48:I think you have to be true to the script that you're given. ~ Jenna Coleman,
49:To do someone else's script? I don't think I'd have a reason. ~ Miranda July,
50:A director should cast a person who fits into their script. ~ Christina Ricci,
51:The script is simply a series of notes for the film. ~ Michelangelo Antonioni,
52:I find it really hard to even read another script while shooting. ~ Chris Pine,
53:I hate when I get a script and I can't see who the people are. ~ Anne Fletcher,
54:The script, I always believe, is the foundation of everything. ~ Ewan McGregor,
55:If I'm having a bad day in rehearsal, I'll sleep with my script. ~ Nina Arianda,
56:It's all about the script. Reality is key to me and less cutesy. ~ Jimmy Fallon,
57:F k being a script kiddie if you can avoid it — be a hacker. ~ Kevin D Mitnick,
58:I'm much happier just to write myself out of the script entirely. ~ Phil Collins,
59:I never work from the script. I get the script more or less. ~ Pawel Pawlikowski,
60:It makes a world of difference when you start with an amazing script. ~ Avi Arad,
61:Just like a script, you need to keep a business plan to yourself. ~ Preity Zinta,
62:My easiest judgment for a script is 'do I want to keep reading it?' ~ Jason Blum,
63:I can't even read a script. I've tried and it's painful to watch. ~ Lauren Conrad,
64:I don't want this big stardom thing. I just want a good script. ~ Annette O Toole,
65:I had written a script called "Freed," which I had wanted to direct. ~ Dan Gilroy,
66:A good film script should be able to do completely without dialogue. ~ David Mamet,
67:I think first impressions are important when you pick up a script. ~ Dennis Farina,
68:It's not about Hollywood, it's always about a good script for me. ~ Hrithik Roshan,
69:I like it when actors depart from the script to find their characters. ~ Fatih Ak n,
70:I only sound intelligent when there's a good script writer around. ~ Christian Bale,
71:I've never seen or heard of a mob sitting down to read a film script. ~ Deepa Mehta,
72:You define your own life. Don't let other people write your script. ~ Oprah Winfrey,
73:If I had known who Godot is, I would have written it in the script. ~ Samuel Beckett,
74:To find a script that works with provocative ideas is hard to find. ~ John McTiernan,
75:Rock is all about writing your own script; it's all about pioneering. ~ Courtney Love,
76:There's always something that draws you away from the original script. ~ Roger Corman,
77:Every single time I read a script I'm breathless as I turn the pages. ~ Naomi Grossman,
78:I was very happy sitting alone at a dining room table, writing a script. ~ Conrad Hall,
79:She wanted to be given a funny script so that she could make it funnier. ~ Nick Hornby,
80:The script - and a good one - tells you everything that you need to know. ~ Ray Liotta,
81:Cut the ending. Revise the script. The man of her dreams is a girl. ~ Julie Anne Peters,
82:Give me a good script, and I'll be a hundred times better as a director. ~ George Cukor,
83:He comes back with the script, and it's racist like a 1940's Newspaper. ~ Katt Williams,
84:The script for 'In Good Company' was the first one I ever showed my dad. ~ Topher Grace,
85:We’ll use from to load in our script, just because it’s a bit less to type. ~ Mark Lutz,
86:For any role, I pretty much always go to the script, first and foremost. ~ Jessica Raine,
87:I always get quite close to my script because I work quite hard on them. ~ Andrea Arnold,
88:Howard Minsky had gotten the script to her agent prior to my involvement. ~ Arthur Hiller,
89:When told a script was full of old cliches: Let's have some new cliches. ~ Samuel Goldwyn,
90:I don't sit around and study the pages of a script over and over again. ~ Genevieve Bujold,
91:It'll take me a lot longer to read a script if there's no director attached. ~ Naomi Watts,
92:It's never a script that makes me decide to accept a film or not. ~ Jean Louis Trintignant,
93:If it's an excellent script, I enjoy it tremendously, the acting part of it. ~ Julie London,
94:When I wrote the script [of "Aquarius"], it seemed to hold people's interest. ~ Sonia Braga,
95:I don't worry too much about the script, I just ad lib, like Pearl Bailey. ~ Mahalia Jackson,
96:If the script grabs me and appeals to me, I'm really very keen to work on it. ~ Hugo Weaving,
97:What a script says that isn't dialogue is as important as the spoken word. ~ Vanessa Redgrave,
98:What is your Primary Aim? Where is the script to make your dreams come true? ~ Michael Gerber,
99:I can't stand innuendo. If I see one in a script I whip it out immediately. ~ Kenneth Williams,
100:I read a script and I know immediately whether that role is for me or not. ~ Jennifer Coolidge,
101:Poetry is a phantom script telling how rainbows are made and why they go away. ~ Carl Sandburg,
102:I'd never read a piece of television where it's an hour script and it's perfect. ~ James Purefoy,
103:Inspired music arises from an inspired movie which arises from an inspired script. ~ Hans Zimmer,
104:I'm always looking for a low-budget script with an interesting character to play. ~ Walter Koenig,
105:I really think that reading a whole script is kind of prying and neurotic, don't you? ~ Tom Baker,
106:script
for when
he tells
you
you're
beautiful :

"i know. ~ Amanda Lovelace,
107:The work of the director is the work of constructing the shot list from the script. ~ David Mamet,
108:As a character, you're working within the realm of what's on the [script] page. ~ Harry Connick Jr,
109:When you start a script you aim to hit a note you know you want to end in general. ~ Alex Kurtzman,
110:You can't get a movie made without a script; it's the blueprint to your building. ~ Bruce Campbell,
111:I'd been forced into a movie, and there was nothing to do but follow the script. ~ Jonathan Tropper,
112:I'm an optimist; I always hope that each new script is going to be a great story. ~ Viggo Mortensen,
113:Universal rushed us. We started shooting without a script that was totally completed. ~ John Landis,
114:Nobody goes to a movie and watches the script. There is a lot of other stuff going on. ~ Ben Affleck,
115:The script comes first. If that isn't good enough, you know it's gonna be a long ride. ~ Ted McGinley,
116:Human consciousness is too obscure a mystery to itself for us to script our own lives. ~ Robert Jenson,
117:Its signs stare at us like an unknown script,
   ~ Sri Aurobindo, Savitri, The Secret Knowledge, [T5],
118:To make a great film you need three things - the script, the script and the script. ~ Alfred Hitchcock,
119:I do remember reading the script of 'The Nightmare Fair' and looking forward to doing it. ~ Colin Baker,
120:I suppose I can do more for a script as an actor than as a writer - in the film sense. ~ Jack Nicholson,
121:[Making movies is] 80% script and 20% getting great actors. There's nothing else to it. ~ William Wyler,
122:With 'Brick,' I wrote the script when I was 23 and didn't make the movie until I was 30. ~ Rian Johnson,
123:You tend to get a script and you push it toward being the kind of film you want to make. ~ Peter Webber,
124:Once you've agreed the script, you must be willing to go as far as it needs to go on set. ~ Ewan McGregor,
125:When I read the script for Will & Grace in 1998, I knew I was the only guy for the part. ~ Eric McCormack,
126:I like my characters to be ones I think about long after I've finished reading the script. ~ Saoirse Ronan,
127:It's always the script that's going to lure me. And I don't really care about the part. ~ Sigourney Weaver,
128:Like mirror script, to read requires reflection, asks us to see ourselves holding the page. ~ Ander Monson,
129:Often in television, you read a script and you're amazed that you get the scene given to you. ~ James Wolk,
130:Well if somebody's giving me a script, I'll consider it. But it's not something I'm chasing. ~ Talib Kweli,
131:Even as an actor, I think like a storyteller. My parents raised us to look at the script. ~ Jake Gyllenhaal,
132:Even the busboys at the restaurants have a script to give you. Everybody is in the business. ~ Robin Wright,
133:I just do what I want to do, and if it's a rather interesting script - which I found. ~ Christopher Plummer,
134:I stick to the script, I memorize the lines, cause life is movie that I've seen too many times. ~ Lil Wayne,
135:This script was just so much smarter than usual and I'm just fascinated by human behavior. ~ Angelina Jolie,
136:I have a tendency to say 'yes' to a script or no to a script. Not 'yes' based on a rewrite. ~ William H Macy,
137:It might look like your enemies are winning, but be ready God is about to flip the script. ~ Shannon L Alder,
138:Sometimes if a script is based on a book, that's what you should do: represent the book. ~ Jennifer Lawrence,
139:But once we got on the air, everybody except Morey Amsterdam pretty much stuck to the script. ~ Dick Van Dyke,
140:Don't send me your script if you want me to play the black best friend; I just won't do that. ~ David Oyelowo,
141:If the story's interesting and it's a compelling script, I'd be thrilled to be a part of it. ~ Andre Braugher,
142:I would take a bad script and a good director any day against a good script and a bad director. ~ Bette Davis,
143:When you feel like you’ve only got a bit part in your own life, write the script yourself ~ Benny Bellamacina,
144:Writing a great script - not just a good one, but a great one - is almost an impossible task. ~ Michael Arndt,
145:Everything is a rejection of you, not your product, or your script, or a cosmetic. It's you. ~ Morgan Brittany,
146:I actually had a chance to be in Delta Farce, but I couldn't do it because I read the script. ~ Jeff Foxworthy,
147:I like to hold a book. When someone sends me a script, I ask for a hard copy or print one out. ~ Mario Cantone,
148:Of course, I'm not allowed to talk about the script, but I can say it is a really good story. ~ Aaron Stanford,
149:Once a script is released that doesn't mean it's the final product. It's not set in stone. ~ Nathalie Emmanuel,
150:The better the script, the less money there is. That's just the economics of the studio system. ~ Peter Hedges,
151:The offers I get are for grandfathers, uncles - and they often die very quickly in the script. ~ Max von Sydow,
152:There's one great script that hit my desk that I didn't change at all, and that was True Romance. ~ Tony Scott,
153:You can dress it up, but it comes down to the fact that a movie is only as good as its script. ~ Curtis Hanson,
154:A good script and a good brief from the director is enough to let me know what is expected of me. ~ Sanjay Dutt,
155:Great writing attracts great actors. It attracts money. Without a great script, you have nothing. ~ Andy Garcia,
156:I always find that it's when a script is not detailed, then I have to do more work as an actor. ~ Steve Buscemi,
157:If I have a script, I tend to stick to it even if God may be leading me elsewhere in the moment. ~ Francis Chan,
158:I think sequels should be earned and we won't do it unless the script is better than the first one. ~ Jay Roach,
159:I was concerned about doing a sequel and repeating myself. That was before I read the script. ~ JoBeth Williams,
160:More often than not, if you've got a good director and a good script you can't really go wrong. ~ Douglas Booth,
161:My eyes trail from his hand to the tattoo written in small script across his forearm. Hopeless ~ Colleen Hoover,
162:Often jobs are un-turndownable even before you read the script. You go, "Well, I have to do that." ~ Toby Jones,
163:Research is what drives me. When I get a script, I go to the real world and touch the real people. ~ Tony Scott,
164:The script is a bible and it's this unchangeable document that somebody spent years and years on. ~ Alison Pill,
165:You’ve worked too hard to let an opportunity like this slip through your fingers—read the script. ~ Maggie Marr,
166:A lot of shows are more script-driven, like a prose script. As an actor, you never see a storyboard. ~ Tom Kenny,
167:I haven't heard anything about a reunion show for Sisters. But if the script was good I would do it. ~ Sela Ward,
168:I'll read a script maybe twice, but I'll think about the role more than I'll rehearse lines. ~ Patricia Clarkson,
169:I'm a sucker for a funny script. And then, as soon as I don't wanna be, one comes along and grabs me. ~ Meg Ryan,
170:I've done about six comedies. Oddly enough, the script came to me from one of the guys in Platoon ~ Tom Berenger,
171:Most actors go, I read the script and fell in love with it; I fall in love with the directors. ~ Sam Worthington,
172:You read a script and its based on 'Reservoir Dogs' and 'Pulp Fiction', and it goes right in the bin. ~ Tim Roth,
173:All too often, she felt like an actor in a play, performing only actions outlined in the script. ~ Amy E Reichert,
174:Dave Chappelle asked me to come do his show. I read the script, and I said, 'Has he lost his mind?' ~ Marla Gibbs,
175:For the most part I pick movies based on the merit of the script, and the merit of the script only. ~ Amber Heard,
176:As hard as you try to write a good script and you have great intentions, this alchemy has to occur. ~ Carlton Cuse,
177:If the script's good, everything you need is in there. I just try and feel it, and do it honestly. ~ Olivia Colman,
178:I love this script [The Hollars] because I'm lucky enough to come from a really tightknit family. ~ John Krasinski,
179:I never say never, but I haven't been given the quality of script to compel me to go on television. ~ Nicolas Cage,
180:I start casting early in the writing process, so I can tailor the script to the gifts of the actors. ~ Judd Apatow,
181:The script is what you`ve dreamed up - this is what it should be. The film is what you end up with. ~ George Lucas,
182:When I read the script it was extraordinary and to work with Yorgos [Lanthimos] again was amazing. ~ Colin Farrell,
183:When you have a good script you're almost in more trouble than when you have a terrible script. ~ Robert Downey Jr,
184:But if you put a script up in front of me to read, or a cue card, I couldn't do it without stuttering. ~ Mel Tillis,
185:Don't compare your story to a movie or a book because it is written by a script writer and yours by God ~ Anonymous,
186:If a script has that affect on me during a reading, then it is definitely a film I want to be part of. ~ Aamir Khan,
187:I was out to have a good time and have some fun. It's a fun script and fun people are in the movie. ~ Harvey Keitel,
188:I regret not doing a film that I was offered with Clark Gable because the script was not good enough. ~ Leslie Caron,
189:Your life is meant to be an epic story. How you think, perform and live today is part of that script. ~ Robin Sharma,
190:As an actor, it doesn't happen often that somebody sends you a script that is first of all that good. ~ Patrick Huard,
191:Biology isn’t just genes playing out some unalterable script. It is sensitive to the world around it, ~ Bruce D Perry,
192:Every time I try to retire, or even think of retiring from acting, my agent comes up with a script. ~ Anthony Hopkins,
193:I don't like scripts leaking. On the other hand, the more real attention a script gets, the better. ~ William Monahan,
194:I don't really get into a big intellectual analysis of why I am going to do a certain script or not. ~ Clint Eastwood,
195:It's very, very rare in this business [moviemaking] where a script lands on your lap ready to go. ~ Leonardo DiCaprio,
196:You just have to go with a good story and a script that you like and people that you like to work with. ~ Thomas Jane,
197:I am going to have to stick to the script. If I muck around with the words it will defeat the object. ~ Clive Anderson,
198:I decided to write [Collateral Beauty] on my own which made it the first spec script I wrote in 11 years. ~ Allan Loeb,
199:I'm doing a Dylan Thomas film, Map of Love, with Mick Jagger producing again. It's a wonderful script. ~ Dougray Scott,
200:I read the script of [Woman Under the Influence ] 50 times. And I thought about it. And then I did it. ~ Gena Rowlands,
201:I think it helps, as an actor, to never know when you're going to get that next script and you're done. ~ Jon Bernthal,
202:I think it's incumbent on actresses to bring something else to the part which isn't in the script. ~ Natascha McElhone,
203:I think that my script, if it gets used, would be great. But if it doesn't, I think it inspired them. ~ Rae Dawn Chong,
204:It's very rare you get a great script just handed to you, or sent to you, by someone you don't know. ~ Viggo Mortensen,
205:The difference between life and the movies is that a script has to make sense, and life doesn't. ~ Joseph L Mankiewicz,
206:There is no sense in doing a wonderful script with somebody who can't direct because that is a disaster. ~ Robert Culp,
207:If I put the script down more than once, there's a good chance that I probably don't want to play the part. ~ Joe Lando,
208:Now I'm doing a film festival for kids and writing a script about a kidnapped journalist in Afghanistan. ~ Olivia Wilde,
209:Triple tonguing? It was sort of invented. It wasnt in the script. It was something that I came up with. ~ Famke Janssen,
210:A script like Nightcrawler gives me an opportunity to truly realize a vision thats mine, which is exciting. ~ Dan Gilroy,
211:But you're not necessarily ever going to be handed a script where you can say: it's all done and perfect ~ Alison Lohman,
212:I don't like to write any music to a script. Experience has taught me that's generally a waste of time. ~ Cliff Martinez,
213:I love horror films, so I guess it's one of those things where I find myself interested in the script. ~ Elisha Cuthbert,
214:We’re superheroes. He’s not sticking to the script. If he keeps deviating, I’m jumping comic books. ~ Karen Marie Moning,
215:With a film, you have to pare down and take stuff out and squish it all down into a 110 page script. ~ Melissa Rosenberg,
216:Every screenwriter worthy of the name has already directed his film when he has written his script. ~ Joseph L Mankiewicz,
217:If Ginger could just be a good enough person for long enough, she could flip the script for Willa, though. ~ Tessa Bailey,
218:Our lives are just our genes and our upbringing. We simply act out the script that was forced upon us. ~ Orson Scott Card,
219:Anyone can write. But comedy, you've got to do some writing. You get one comedy script to every 20 dramas. ~ Michael Caine,
220:Every script I've written and every series I've produced have expressed the things I most deeply believe. ~ Michael Landon,
221:Every time you get a script and you have a scene, you start mining out how many layers there are within it. ~ Linus Roache,
222:I mean, Deadpool has a script, but it's a very complicated process to find the right filmmaker. We'll see. ~ Ryan Reynolds,
223:I was hired to do this one great script called 'Cap'n Ricky' and that project is up in the air at the moment. ~ David Wain,
224:I would consider doing any part as long as the script is good and the film has an interesting director. ~ Daniel Radcliffe,
225:I wrote a script and I've been whispering in director's ears for a really long time and I'd love to direct. ~ Jeremy Piven,
226:The first half of life is discovering the script, and the second half is actually writing it and owning it. ~ Richard Rohr,
227:The role always attracts me. Sometimes I can read something and I can barely see the rest of the script. ~ Brigid Brannagh,
228:I usually read a script from an audience perspective first, and then look more closely at the character only. ~ Colm Meaney,
229:I've been fired from a situational comedy with a script they wrote specifically for me because of my voice. ~ Penn Jillette,
230:Picking projects, it's always director first and then script. Those two things are pretty much head-to-head. ~ Cameron Diaz,
231:Really, I'm a neurotic perfectionist. Every single word in the script is the one that I want. ~ Alejandro Gonzalez Inarritu,
232:As was often the case with the ego’s script, the plot added up to “damned if you do and damned if you don’t. ~ Gary R Renard,
233:My springboard is always the script. Even if the script is taken from a novel, I often haven't read the novel... ~ John Hurt,
234:None of us knew how to come back from this moment. This was where the script ended and we all had to improvise. ~ Mike Gayle,
235:The original pilot script [ of "Mary and Jane"], we literally just wrote for fun. It was, let's just do this. ~ Harry Elfont,
236:Everything you do on set is directly related to your imagination when you read the script for the first time. ~ Ewan McGregor,
237:I get involved with projects based on three parameters - the script, the actors involved and the director. ~ Dominic Monaghan,
238:I look for a director with a script he likes a lot, but I'm probably after the directors more than anything. ~ Jack Nicholson,
239:I think a good script is a rare thing, and I think no matter who you are you have to fight for the good ones. ~ Anna Kendrick,
240:It's an unfair comparison because when things are developed in the UK, they're developed at script stage only. ~ Damian Lewis,
241:I've been working on this feature script for Master Class, a play by Terrence McNally that won a lot of Tonys. ~ Faye Dunaway,
242:Originally, in my pilot script, I had named my character Mira. But Kevin Reilly told me to change it to Mindy. ~ Mindy Kaling,
243:Take a favorite trick of yours and write a 'gestures script' how could you improve clarity [using gestures]. ~ Roberto Giobbi,
244:The first half of life is discovering the script, and the second half is actually writing it and owning it. So ~ Richard Rohr,
245:When you are shooting with a robot you can't improvise. You can't really... the script is kind of the script. ~ Jake Schreier,
246:For years, I was often afraid to speak up when I didn't fully understand a script. I'd tie myself in knots. ~ Michelle Dockery,
247:I screen tested for Training Day many years ago, which was David Ayer's script with Antoine Fuqua directing. ~ Joe Manganiello,
248:Page one of the script, I launch into, "How would I feel if I were in this position?" That's an actor's job. ~ Dermot Mulroney,
249:Script for an actor is like a bible. You carry it with you, you read it over and over, you go to your passages. ~ Cameron Diaz,
250:When I first read the script a few years ago I thought it was one of the best written scripts I had ever read. ~ Victor Garber,
251:Ensure that your script is watertight. If it's not on the page, it will never magically appear on the screen. ~ Richard E Grant,
252:Once you finish the script, it's no longer yours; it's the other people making it, which sometimes can be hard. ~ Katie Dippold,
253:The script is the foundation, but it's not the full story for the film, which only comes alive with the actors. ~ Mora Stephens,
254:Usually you read a script and you know somebody who knows somebody who maybe knew that person or met them once. ~ Amanda Schull,
255:Whenever I get a good script, I don't care whether it's telly or theatre or big screen - I'm not bothered. ~ Pete Postlethwaite,
256:a cramped, arthritic script that made his letter resemble a cross between cuneiform, Arabic, and Morse code. ~ Charles R Johnson,
257:Following the script is one thing, but the unique way in which you deliver your lines is what makes them your own. ~ DeRay Davis,
258:I handed in a script last year and the studio didn't change one word. The word they didn't change was on page 87. ~ Steve Martin,
259:It's possible for me to make a bad movie out of a good script, but I can't make a good movie from a bad script. ~ George Clooney,
260:I would always rather do a mediocre script with a great filmmaker than a great script with a mediocre filmmaker. ~ Kirsten Dunst,
261:Of course I would change anything if John Cassavetes said so - it's his script. But he was very easy about that. ~ Gena Rowlands,
262:On day I noticed that something happened that looked like a dramatization of the inner script of my psyche. ~ Carol Lynn Pearson,
263:Well, there's no question that a good script is an absolutely essential, maybe the essential thing for a movie. ~ Sydney Pollack,
264:You don't have to kill somebody to play a murderer. You have to read the script and interpret the character. ~ Denzel Washington,
265:You pick projects for the part, the director, and the script. I just want to do different, interesting stuff. ~ Daniel Radcliffe,
266:You're looking for the best way of shooting it, but sometimes the best way of shooting it is changing the script. ~ Jose Padilha,
267:A movie's very different from the book, and it's different from the script, and it's usually one person's vision. ~ Casey Affleck,
268:At the end of the day you do have to write a short novel beforehand, called a script, before you can make a movie. ~ Louis Garrel,
269:Can a split quill write fair script?
Can a blunt axe cut wood for the fire?
Can a cripple please a lady? ~ Juliet Marillier,
270:For me, I've always been one that reads a script and has been ready, wiling and able to go out and fight for parts. ~ Chris Klein,
271:History is opaque. You see what comes out, not the script that produces events, the generator of history. ~ Nassim Nicholas Taleb,
272:Life is like a B-picture script! It is that corny. If I had my life story offered to me to film, I'd turn it down. ~ Kirk Douglas,
273:Stand-up is really personal. It's not like somebody else is writing the script and you have to do what they write. ~ Tracy Morgan,
274:Fozzie Bear has so many bear puns in this script - like, 'Trac is grizzly!' 'This is unbearable!' It's the greatest. ~ Jason Segel,
275:I never really do much research before signing a film. It is just the script and character that I concentrate on. ~ Kareena Kapoor,
276:Really I'm just an actor. The only difference between me and those cats in Hollywood is that I write my own script. ~ Jimi Hendrix,
277:The piano song that I do in the movie [The Hangover], it's a great example, that was never - that wasn't in the script. ~ Ed Helms,
278:You should know the lines, be prepared, get sleep, and have the script analyzed so you're ready to rock and roll. ~ William H Macy,
279:I can never say a line someone else has given me, which is why script meetings on TV shows always go terribly for me. ~ Alexa Chung,
280:I love the gangster genre, but how many gangster movies are there? If I get a good gangster movie script, I'll do it. ~ Graham King,
281:Just learn the whole script before you start shooting. That makes shooting a joy. Even if they rewrite, it's easy. ~ William H Macy,
282:There are definitely reasons to do certain things, but I like to stick to good director, good actor, good script. ~ Amanda Seyfried,
283:Think of the resurrection as God unexpectedly going off script and bringing into the present time a bit of the future. ~ Peter Enns,
284:You can't write a script in your mind and then force yourself to follow it. You have to let yourself be. ~ Chimamanda Ngozi Adichie,
285:I always choose my projects for the script or what the director want to tell with that story. And if I like the story. ~ Elena Anaya,
286:If you want to be a filmmaker, ask yourself if you could imagine doing any other job. If you can, that’s a script! ~ Terrence Malick,
287:I really like acting but, just now, the more I read a script I find myself thinking I'd like to direct rather than act. ~ Billy Boyd,
288:When you're shooting 20-odd episodes in a season, the last thing you want is for each script to be the same tone. ~ Jonny Lee Miller,
289:Don't always worry about what your next line is supposed to be. There is no script. Live your life. Be in this moment. ~ Dick Costolo,
290:If I want to kiss, I shall kiss. If I am told that a lovemaking scene is integral to the script, I will consider it. ~ Kareena Kapoor,
291:If you have script problems and you don't fix them by the time you shoot, your script problems are now 40 feet tall. ~ Bruce Campbell,
292:I'm not famous for my back story investigations; I'm lucky that I work with good writers and it's usually in the script. ~ Bill Nighy,
293:there’s an infinite number of monkeys outside who want to talk to us about this script for Hamlet they’ve worked out. ~ Douglas Adams,
294:When I read a script, I have to see the funny, and if I can see it's funny, it helps me to be able to transmit that. ~ Jessica Walter,
295:If I'm not in love with the script, there's nothing. It doesn't matter what you give me. It has to start with the script. ~ Doug Liman,
296:If you have a good script, that's what gets you involved. It's harder to write a good screenplay than to find something. ~ Bill Murray,
297:I wish I was one of those people who could write script after script and pages and pages. I can only aspire to do that. ~ Fred Armisen,
298:Property of Dominic Knight was engraved in a large font. Return for Reward was in a smaller script but easily visible too. ~ C C Gibbs,
299:Sometimes, something seems dead, and then out of the blue, someone just figures out the way to fix a script and it goes. ~ Judd Apatow,
300:When a script focuses on being a film instead of a formula, it can transcend the ghetto of its genre.
-Mike Schmidt ~ Graham Elwood,
301:I don't work very much, and I just sit here waiting for a script that I can't refuse - and I'm not talking about money. ~ Michael Caine,
302:Life-actors never rehearse and need no script. A life-actor uses whatever he has available, nothing more, nothing less. ~ Abbie Hoffman,
303:Success is not important to me, nor are power or money. If the script feels good, then I'm in. It's that simple. ~ Joseph Gordon Levitt,
304:There has to be this balance of reality for a woman. I don't want to play women who just serve a purpose for the script. ~ Kristen Bell,
305:Wait a minute, words in the prompter, script on my desk, vending machine upstairs out of Funyuns... the writers are back! ~ Jon Stewart,
306:You can always find ways to make it different, as long as it's a really well-written script and well-written character. ~ Georgina Haig,
307:You hate to see yourself do one draft of a script and then have somebody else come back in and change what you've done. ~ Thomas Lennon,
308:Have you ever wondered whether there could be a different, more positive script in which the one who feels well survives? ~ Vadim Zeland,
309:I'm not saying I'm a writer, but I've been in movies for a long time, and I think I could write a script for a movie. ~ Benicio Del Toro,
310:My approach to acting is that I am totally intuitive. I read the script and I get it. If I don't get it, I can't do it. ~ Morgan Freeman,
311:There's no need there to sit with the filmmaker for 11 years to develop the script, or go round the world raising money. ~ Tilda Swinton,
312:Whenever I'm offered something, I always read the script and meet the director. I still appreciate just being considered. ~ Steve Carell,
313:Katie Dippold, who I wrote the script with, she's very into ghosts and all that. So I go, "Hey, why don't you talk to Katie?" ~ Paul Feig,
314:When I read a script, I try not to judge the characters. I try to have an open mind and really see what it makes me feel. ~ Penelope Cruz,
315:I keep reading your looping, cursive script, until the words are indelible inside me: “I never knew real happiness until you. ~ Jojo Moyes,
316:When I read a script, I am already in the movie with my music, and I can dive into a world that I haven't seen before. ~ Volker Bertelmann,
317:When you do a rewrite, it's really about serving the director's vision, and what the director needs to go into that script. ~ Kelly Marcel,
318:I honestly have no strategy whatsoever. I'm waiting for that script to pop through the letterbox and completely surprise me. ~ Ben Kingsley,
319:I think if you get your fifth script made, that's the fast track. But there's no guarantee any of them will get made. ~ Geoffrey S Fletcher,
320:It's much harder to write a script that involves two people in a single location than 20 people in 30 different locations. ~ Michael Haneke,
321:Love and hell are alike in that respect; they are what you bring to them. The script is yours; only the props are furnished. ~ Parke Godwin,
322:This isn't a script," Julian says. "It's not going to add up. Not everything's going to come together in the third act. ~ Bret Easton Ellis,
323:Every time I get a script in my inbox, it's like a little Christmas present. It's so exciting to see what they've cooked up. ~ Amanda Schull,
324:I didn't really think of role in those terms, like 'quirky best friend', when I read the script and when I came to the project. ~ Judy Greer,
325:I felt really strongly about this script [ Everybody Loves Somebody] because, like you said, it's a very specific way of life. ~ Karla Souza,
326:That's the first time I've been involved in such a big way as a voice actor and this script [Voltron] is very matter of factly. ~ Rhys Darby,
327:The moment there's a foreigner in a film it gives a novelty to the script. We make regional films and we need to hype our films. ~ Arin Paul,
328:Well, most of us think the “Merchant of Venice” is a porno script. On a more personal note, I’ve decided on pizza for dinner. ~ Jaye Frances,
329:You can't fix a bad script after you start shooting. The problems on the page only get bigger as they move to the big screen. ~ Howard Hawks,
330:I never had a movie that I wanted to do turned down in my whole life. I always write the script first so it speaks for itself. ~ Steve Martin,
331:I've always felt that I'm in a spontaneous business and if you script something, if you plan something, it will sound that way. ~ Al Michaels,
332:I've been involved with some huge studio projects that have been bloody awesome. It all starts with a great script, doesn't it? ~ Juno Temple,
333:I've been preparing [Chinese Zodiac] for seven years, spent seven years on writing the script, spent over a year on filming it. ~ Jackie Chan,
334:No matter how great the script, the actual film will only be a distant relative of it - it will never be an identical twin. ~ Peter Straughan,
335:The writing of the script is a continual process. There's the first draft and then many, many re-writes here and there. ~ Abdellatif Kechiche,
336:You can have a great script, or a great director and a bad script, and get a great movie. Nothing really guarantees anything. ~ Douglas Booth,
337:I remember my dad working with me on breaking down my script and writing out a back story for my character and all that stuff. ~ Jason Bateman,
338:The Common Curriculum can easily become the karaoke curriculum, where everyone just follows the bouncing ball of the script. ~ Andy Hargreaves,
339:Trauma is a rude awakening, but also an opportunity to edit the script from believing to knowing. Self define for destiny's shine! ~ T F Hodge,
340:Every joke is an experiment. When you sit, alone, and write a script, or just a joke, you really have no idea if it will succeed. ~ Judd Apatow,
341:I just have a belief that when there is a rare script out there that speaks to you, you have to stick with it. You have to. ~ Heather Matarazzo,
342:I pretty much always choose characters. That's what I do. That's what I look for. I look for dynamics in a script and potential. ~ Grant Bowler,
343:I thought 'Borat' was a breakthrough comedy, because it was really funny. It wasn't some studio-produced script with 14 writers. ~ Steve Martin,
344:I've never ever read a script. I really must read Macbeth, because I was in it once. I got a lot of laughs in that, I can tell you. ~ Tom Baker,
345:I write to music, so every script I have has its own playlist. Music just opens me up to the emotions that I'm writing. ~ Gina Prince Bythewood,
346:When you're casting, you get a page or two - just enough to do the scene. Now that you're in the world, you get the whole script. ~ Mike Colter,
347:You can have a great script, and it can be a great show, but for whatever reason, it just doesn't take the public's interest. ~ Joanne Froggatt,
348:I've worked with genius performers. Sometimes they created great work with a bad script... but not often. Play it safe: write well. ~ Jerry Juhl,
349:Like ultraviolet rays memory shows to each man in the book of life a script that invisibly and prophetically glosses the text. ~ Walter Benjamin,
350:Well Getaway was a script that was submitted to us for production and I read it and thought it would be a cool movie to make. ~ Courtney Solomon,
351:When you're working on a script, every word that's on the page, somebody has to read it. Make every word count in your stories. ~ Jonathan Demme,
352:You can trust a Neil Simon script. Every dot. Every dash; that pause means something. He takes all the jokes out, practically. ~ Hector Elizondo,
353:I get work because I'm primarily a novelist but I've become script doctor. I can work back and forth between French and English. ~ Norman Spinrad,
354:I think that's all you can hope for as an actor when you read a script; that after the first thirty pages it has some meaning to it. ~ Cary Elwes,
355:Twitter is so short, it's safe. I don't want my bosses to be like, 'Hey, your script is due and we saw you wrote four blog pages.' ~ Mindy Kaling,
356:When man begins to think that he is responsible for writing the script of the world, he forgets the forces that dream up our reality. ~ R F Kuang,
357:A lot of our favorite comedies in general are usually directed by writers, whether or not they wrote the original script themselves. ~ Jon Hurwitz,
358:As far as I know, if you take your time, write a good script and make a good film, then give the audience time, they will accept it. ~ Ajay Devgan,
359:What I appreciated was the fact that the script delved into how Australians were - and still are - condescended to by the English. ~ Geoffrey Rush,
360:When you work without a script, you are in a sense working in a much more improvisational way than when you are prepared totally. ~ Sydney Pollack,
361:A German shepherd dog could walk in the office with a script in his mouth, and if that script was really good, they'd buy the script. ~ Peter Guber,
362:I won't work on anyone's else's script. I won't write for anyone else. I write my own stuff and make that when the time is right. ~ Martin McDonagh,
363:These things are going to eat away at me... I rewrite the script in my head until it's 100-proof poison, and none of it helps at all. ~ Nick Hornby,
364:You don't really work together with Clint Eastwood. I mean, he takes the script and he shoots it - and he shoots it very faithfully. ~ Peter Morgan,
365:You either learn your way towards writing your own script in life, or you unwittingly become an actor in someone else's script. ~ John Taylor Gatto,
366:All of the good movies are based on how that story was told. And you cannot do it with a bad script, that's for sure, no matter who. ~ Javier Bardem,
367:I don't act, anyway. The stuff is all injected as we go along. My pictures are made without script or written directions of any kind ~ Buster Keaton,
368:I enjoy co-directing or even being there just for support because you get to see your script come to aural life in front of you. ~ Rhianna Pratchett,
369:If a script writer had come up with a story resembling what you have just achieved, even the Hollywood studios would have refused. ~ Lance Armstrong,
370:I look for the character to be something interesting, the script to have a good story and be original, and a director that I admire. ~ Josh Hartnett,
371:I think part of the problem sometimes is that there's so much happening in my books, to whittle it down into a single script is hard. ~ Sarah Dessen,
372:I used to write stories and poetry, but for some reason I have it in my head that if I'm going to write, I have to write a script. ~ Melanie Lynskey,
373:People always say a script will be 'brought to life in a magical way,' but for me that has been proven wrong time and time again. ~ Ginnifer Goodwin,
374:We ike to think we are our own people, but sometimes it seems we are just playing out a script that was imprinted in us along ago. ~ Anderson Cooper,
375:When you pick up a script you want to do you generally have a theme you're trying to work with, and then it expands from that. ~ Michael Caton Jones,
376:After all, to love somebody is to give them the power to hurt you, and nobody can hurt you if you’re the only one writing the script. ~ Donald Miller,
377:And when I told my sons I might be in City of Ember, they said, 'Oh! You're gonna be the mayor?' And I hadn't even read the script yet. ~ Bill Murray,
378:Hillary Clinton is a dead fish when it comes to being entertaining and alive. Without a prompter and a written script, she's nothing. ~ Rush Limbaugh,
379:I don't get rattled about the big things. I get rattled when I have to pick up my laundry, get gas in the car, pick up a script. ~ Sherry Stringfield,
380:If I made a mistake in singing a song or in the script, I could have some fun with it, then retain any of the fun that sounded amusing. ~ Bing Crosby,
381:I have faith that a script is going to hit me like a ton of bricks, and when that happens, it's undeniable that I should choose the role. ~ Tom Hanks,
382:It's a rare thing when you can read a script in one sitting and you haven't looked at the watch or you've gone to make a cup of tea. ~ Tom Hiddleston,
383:What first attracted me to doing Swiss Army Man was just how mental it was - how insane and wonderful and original the script was. ~ Daniel Radcliffe,
384:I choose movies, I never choose roles. I look at the script. I look at the director. I look at the other actors - and then the role. ~ Elle Macpherson,
385:I've never known a situation in my career where a terrible script turned into a movie that was out of this world or was a success. ~ Leonardo DiCaprio,
386:When I make a film - I direct my own film, I write my own script - that's what I want to hear from the audience. 'Oh, thank you, Jackie!' ~ Jackie Chan,
387:You have the capacity to change the plotline of your life, even if you've been acting from the same script since before you can remember. ~ David Simon,
388:If theres something really, really bothering me about a script, then Ill say something, but otherwise I find my answers in the script. ~ Melissa McBride,
389:Memorizing a playbook is like memorizing a script. When they change the script at the last minute it's like changing a play in a game. ~ Michael Strahan,
390:I get asked to give stuff to my dad. I'm, like, 'I'm not gonna pass your script to him!' You know? My dad's my dad. I'm not his agent. ~ Domhnall Gleeson,
391:I love Marlon Brando and James Dean. That was when it was all about the star and the script. Nowadays, everything has to be action-packed. ~ Ansel Elgort,
392:It all starts with the script: it's not worth taking myself away from my family if I don't have something I'm really passionate about. ~ Steven Spielberg,
393:Maybe I'm just not that humble but our script is awesome. Like Jason is so into the Muppets and such a fan. I'm such a fan of Muppets. ~ Nicholas Stoller,
394:Good actors never use the script unless it's amazing writing. All the good actors I've worked with, they all say whatever they want to say. ~ Jessica Alba,
395:I definitely did not play myself. As the writer of the script, I have traits of all the characters. I can relate to all of the characters. ~ Cherien Dabis,
396:If you cast really funny, talented people and let them do what they need to do, they're going to hit a home run for you without a script. ~ Justin Roiland,
397:It's exotic for me to be given a script that's already written, and be given a pay cheque, and asked to dress up and play, and that's all. ~ Tilda Swinton,
398:There must have been a time, before Internet porn, when there wasn’t a script. Nowadays, everybody knows exactly how sex is supposed to go. ~ Paul Russell,
399:When I was 16, I got 'Jamon, Jamon.' Of course, I had to lie about my age. And I had to lie to my parents about the content of the script. ~ Penelope Cruz,
400:All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script and it's very linear. ~ Paul Greengrass,
401:A script is utterly useless in and of itself; it's only of any worth the minute your actors, your designers, your directors come into being. ~ Peter Mullan,
402:Everyday life became infused with urgency as I tried to speak and act in ways that fit the holy script and glorified God in new contexts. ~ Kevin Vanhoozer,
403:He closed his glowing eyes and shook his head. "Yeah. It's fucking stupid. It's crazy. It's dangerous. So it'll fit right into your life script. ~ J R Ward,
404:I'm an unashamed realist, and actually, I try to make whatever the script is the reality of that situation, even though it's fictional. ~ Wolfgang Petersen,
405:Spare Parts: Four Undocumented Teenagers, One Ugly Robot, and the Battle for the American Dream is a timely book that reads like a movie script. ~ Anonymous,
406:To sit down at a computer every day and write a script is commendable. I don't have the patience for it, but I have some fantastic ideas. ~ Shiloh Fernandez,
407:The fun stuff comes when someone is not so strict on sticking to the script. You're allowed the spontaneity, and great moments can happen. ~ Jennifer Aniston,
408:There are a couple hard things. One, getting a funny idea that people can relate to; a funny idea or a funny script; there's a million pitches. ~ David Spade,
409:the sense of separateness from the rest of the world, as if everyone else knew the part they were playing but I’d never been given a script. ~ John O Farrell,
410:Every script has things that would draw me away or draw me towards it. But I just try and choose as wisely as possible - when I get to choose. ~ Charlie Tahan,
411:I have always believed that chemistry can't be created between two people. You either have it or you don't. The script can only enhance it. ~ Deepika Padukone,
412:I'm always looking for something very different from anything I've done. I'm attracted to a great script, and not necessarily a great character. ~ Elijah Wood,
413:I never read a book if I'm auditioning for a film based on it. I like to stick to the script only because that's exactly what I have to play. ~ Sophie Nelisse,
414:In my early 20s, I didn't even know what the Groundlings was. I had no idea. But I know how to break down a script and work on the character. ~ Rachael Harris,
415:I think the most important thing is to, without belligerence, stand up for what want. Argue compellingly if someone tries to change your script. ~ Shane Black,
416:It's hard to get a great idea sometimes. When you get a good one and you have a good script, you want to keep shepherding it to make it happen. ~ Chris Henchy,
417:I would always rather shoot for something unique and fail than do a script because I feel like they're hitting all the right mainstream beats. ~ Patton Oswalt,
418:Most of the guys like sticking to the script and doing just what's written. If they're exploring, they're exploring ways of doing the script. ~ Jon Turteltaub,
419:What happens to me when I read a script, when something grabs hold of me, I start getting these flashes of people or places or things or images. ~ Johnny Depp,
420:When I read a script, I'll have a very visceral gut reaction to what does this mean to me? How does she feel in my skin? Could I play this role? ~ Emily Blunt,
421:A lot of times, when I'm approaching pre-production and my job, and trying to research and work on the script and whatnot it's always different. ~ Logan Lerman,
422:I can get a script and go, "Well, I'd rather do stand-up." I don't hold movies in higher regard. I love making videos and posting. I love TV. ~ Sarah Silverman,
423:I don't know how I absorb things, but I do. I just absorb them. I don't over read the script, and I don't really ever spend much time learning it. ~ John Noble,
424:I would have written it while he looked, but his clear, elegant script intimidated me. I didn’t want to spoil the page with my clumsy scrawl. ~ Stephenie Meyer,
425:To make the script, you need ideas, and for me a lot of times, a final script is made up of many fragments of ideas that came at different times. ~ David Lynch,
426:You can’t write a script in your mind and then force yourself to follow it. You have to let yourself be, Richard,” she said quietly. ~ Chimamanda Ngozi Adichie,
427:I think everyone needs to try their first script, and usually the first one isn't as good. You learn so much as you're trying to figure it out. ~ Scot Armstrong,
428:Turning one's novel into a movie script is rather like making a series of sketches for a painting that has long ago been finished and framed. ~ Vladimir Nabokov,
429:You are the vibrational writers of the script of your life, and everyone else in the Universe is playing the part that you have assigned to them. ~ Esther Hicks,
430:You write the script, and then you just go over it 400 times and make all the jokes better. It really is true. That's essentially the way it works. ~ Dana Gould,
431:I always feel that if you put me in a room with a director and a writer and let me talk about the script, I can give a good account of myself. ~ Daniel Radcliffe,
432:I don't really belong to that world and I don't think anyone's going to miss me. I'm much happier just to write myself out of the script entirely. ~ Phil Collins,
433:I lost the plot for a while then. And I lost the subplot, the script, the soundtrack, the intermission, my popcorn, the credits, and the exit sign. ~ Nick Hornby,
434:Script messages tell us the way we are or what role we are supposed to play in life. They shame who we authentically are and create self-rupture. ~ John Bradshaw,
435:When an actor asks you to read his script, your heart sinks. The number of scripts I've been given by actors that are so unbelievably terrible! ~ Richard E Grant,
436:You can have a million dollar, 20 million dollar budget or 60 million dollar budget, and if you don't have a good script, it doesn't mean a thing. ~ Tippi Hedren,
437:I've done a number of things based on real people or true stories or based on books, and I'm a great believer that you have to be true to the script. ~ Clive Owen,
438:After I script the movie, I have to storyboard it out, I have to budget it, and I have to understand if I can afford all those visual effects or not. ~ David Twohy,
439:A lot of the time the film chooses me. I'll be working and I'll get a call from my agent and I'll get the script and then tell him what I think. ~ Jodi Lyn O Keefe,
440:I'd be just another Marvel fan, only with a little bit bigger smile, when I would get the script and be like, "Oh, my gosh, Agent Coulson knows that? ~ Clark Gregg,
441:Id love to work in the States; Id love to work anywhere where you get a good script and a good part to play. But I do love British film as well. ~ Laura Carmichael,
442:I read the script just once, and then forget it.I just deal with what I see every day on the screen and whetherI believe it and understand it. ~ Thelma Schoonmaker,
443:It's difficult when you have to turn down a tremendous amount of money because you don't like what the script is saying and you don't have any money. ~ Tim Robbins,
444:national television broadcast a fifty-two-episode serialization of the Mahabharata, the script was written by a Muslim poet, Dr. Rahi Masoom Raza. ~ Shashi Tharoor,
445:Being in front of the camera, you never got to see the whole process from the conception of the script all the way through to the filming process. ~ Justin Berfield,
446:I think with the smaller-scale projects, the burden for success falls more squarely on the shoulders of the actors and the director and the script. ~ Alexis Denisof,
447:It's hard to find a play that's right for me to do. Rather than waiting around for the right script to come along, I decided to write one myself. ~ Dan Castellaneta,
448:Richard Jenkins read the script [The Hollars] and really liked it, but he said, 'If you can get Margo Martindale, I'll do it. Otherwise, good luck. ~ John Krasinski,
449:There are directors that I want to work with and that I admire. You can love a script, but if it doesn't have a good director, it won't be that. ~ Jennifer Lawrence,
450:When you're an actor, you're very much exposed, but in a strange way you're totally protected behind a character, behind a script, behind a director. ~ Mathieu Demy,
451:Whether I'm interested [in something] or not, step one is read the script and figure out if a character is someone I'd want to explore or not. ~ Alexander Skarsgard,
452:I don't think about better. You just want it to work. You want it to work and you have your guide with the script. You want it to exist and complete. ~ Famke Janssen,
453:I like it when you read a script and there's the part that you show to the other characters and then there's the part that only the audience knows. ~ Anjelica Huston,
454:I've had three novels published, and I was working a little bit in theater in Ireland. I wrote one film script just to see what it would turn out like. ~ Neil Jordan,
455:My job as an actor is to serve the script. If I'm looking at it as to see what the best character is, then it's not really looking at the big picture. ~ Frank Grillo,
456:Yeah, when you're making a film, the book is a good tool, but once you have the script and you're making a movie, you have to let go of the book. ~ Jennifer Lawrence,
457:Even before my audition, there were several pages missing from my script because those bits were so unbelievably secret not even I was allowed to see them. ~ Ian Hart,
458:Finally, Colin Farrell showed up on my doorstep, only he wasn't Colin Farrell - he was just this Irish kid who had read the script and wanted to do it. ~ Robert Towne,
459:I find that most of my scripts have a lot more scenes than most films, so the average movie might have 100 scenes, my average script has 300 scenes. ~ Steven Zaillian,
460:I’m often asked how Chad and I approach the process of cowriting a script. We figured out an egalitarian method (well, to be fair, it was Chad’s idea). ~ Blake Crouch,
461:I'm so touched that complete strangers will send me a script asking me to be in their film. That still amazes me - and sometimes for a lot of money too. ~ Liam Neeson,
462:Our lives are more like a canvas on which we paint, than a script we need to learn – though the illusion of the latter appeals to us by its lower risk. ~ Fiona Givens,
463:Sometimes as an actor you're struggling to make things work. That was never the case for me with [Big Little Lies script]. It just kind of flowed out. ~ Nicole Kidman,
464:To me, the script is a living, breathing organism. Comedy is something that is ever-changing and ever-flowing with the vibe and the mood of the movie. ~ Todd Phillips,
465:What I do is just go over and over and over my lines and learn the script so well that I can just be easy and relaxed. That's the way I always work. ~ Anthony Hopkins,
466:If I feel like it's a well-written script and if it speaks to me, it's something I want to do. I usually rely on my instincts when it comes to a script. ~ Michael Ealy,
467:In a couple of years I think it [sequel to What We Do] will come out as a script and we'll shoot that. Or maybe it will just come out as some t-shirts. ~ Taika Waititi,
468:In film school, I knew I wanted to be a director, but I found out pretty damn quickly that nobody was just going to hand me a script to direct. ~ Gina Prince Bythewood,
469:I want a script to affect me in some way. I am usually drawn to character studies, scripts about real people and the world we live in not some fantasy. ~ Roger Deakins,
470:I wrote a script. I actually enjoyed writing it more than acting. It's about the Irish rebellion of 1920, which is a fascinating period and place for me ~ Tom Berenger,
471:The script is the coloring book that you’re given, and your job is to figure out how to color it in. And also when and where to color outside the lines. ~ James Spader,
472:Actors tend to not know how their performances are going to actually be used. Even though the script says one thing, in the edit, it can be something else. ~ Idris Elba,
473:But when you get to know a character so well, you start to have insights that you can't show because you're confined to your script of your hit show. ~ John Lloyd Young,
474:I did three or four weeks of work on 'Godzilla' it wasn't a page-one rewrite or anything like that. The term is 'script doctoring,' is what I did on it. ~ David S Goyer,
475:I got involved in script development from the beginning. It was nice to see how a film gets made right from the beginning. It was quite hands-on for me. ~ Dougray Scott,
476:I, of course, wanted to do something with Drew Barrymore. Please. So we were reading scripts back and forth and then we found this script, Fever Pitch... ~ Jimmy Fallon,
477:I really get fired up with female protagonists. I can really feel the difference in myself when I am writing a script that has a woman at the center. ~ Linda Woolverton,
478:I sold my first script when I was 21 - this kids' adventure movie that never got made. I just bought that one back, actually. I'm pretty psyched about it. ~ Jason Segel,
479:It's fun to get the script every Monday morning and go, "Cool!" I'm a professional actor, but I'm also a professional story lover. I get off on that thrill. ~ Matt Barr,
480:The first thing I thought [when I read the script] was that Frasier was an intellectual at some points but also an Everyman - flawed and very insecure. ~ Kelsey Grammer,
481:When you sign on to say, "Okay, yeah, let's develop this," usually that turns into, "Oh, he's doing it." But there's no script for some of these things. ~ Ryan Reynolds,
482:Arthur looked up. ‘Ford,’ he said, ‘there’s an infinite number of monkeys outside who want to talk to us about this script for Hamlet they’ve worked out. ~ Douglas Adams,
483:It's very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words. ~ Keira Knightley,
484:It was a great circumstance when I received the script of [Chloe] and Atom [Egoyan] said he wanted me to do it. I was inclined to say 'yes' immediately. ~ Julianne Moore,
485:Only a few of us will admit it, but actors will sometimes read a script like this: bullshit...bullshit...my part...blah, blah, blah...my part...bullshit. ~ Michael J Fox,
486:Was she impersonating someone, acting from a script prepared beforehand? Or
was I dealing with a person who could not be dealt with because she was mad? ~ Philip Roth,
487:While I don't script and I don't use other performers, I think my taste for underlying precision gives me something in common with Allan and George Brecht. ~ David Antin,
488:You can't write the script to your life. You can't say, if I do this and this, then all these things will definitely happen. Life doesn't work that way. ~ Shalini Boland,
489:If I don't have a script I adore, I do one I like. If I don't have one I like, I do one that has an actor I like or that presents some technical challenge. ~ Sidney Lumet,
490:I'll look at the script and I'll try to find as many books, movies, and pieces of music that I think are going to feed each scene or the character as a whole ~ Josh Lucas,
491:I think a playwright realizes after he finishes working on the script that this is only the beginning. What will happen when it moves into three dimensions? ~ Don DeLillo,
492:The first thing that attracts me to any script is the writing. If I find myself becoming lost in a good yarn, then I feel certain that others will, too. ~ Anne Marie Duff,
493:A lot of the time, I won't read the script until my second or third audition just 'cause a lot of the scripts are the same and the characters are the same. ~ Kay Panabaker,
494:A staccato script of letters and digits beamed from an alternate world. Then they ceased communicating altogether. and began to liase in dreams and nightmares. ~ Will Self,
495:In an ideal world the script is written lean and tight and therefore there are no scenes left on the cuttring room floor and therefore no extended edition. ~ Peter Jackson,
496:I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important. ~ Amy Smart,
497:Schmandt-Besserat contends that the first writing system—the familiar Sumerian cuneiform script—evolved in this way directly from the token system.13 ~ William J Bernstein,
498:Script writing advice, from (William?) Rotsler (p.80)
"Funny is better than serious
Short is better than long
Short and funny is where you stop. ~ Gregory Benford,
499:You have that Frank Capra kind of side to it and the characters are really well drawn, so I think everybody tried their best to stay faithful to the script. ~ Jeff Bridges,
500:But I have a list of books that I want to read before I die, and whenever I get time to read something that isn't a script, I'll read something from that. ~ Elizabeth Olsen,
501:I look at revision as a sort of creative destruction--you break a script down and rebuild parts of it more imaginatively, yet remaining true to the story. ~ Mark Rubinstein,
502:I love 'Safe Men.' Now it's getting all this culty kind of - it just came out on DVD. That was awesome. I read that script, I never laughed so hard in my life. ~ Steve Zahn,
503:I think for me, when I'm looking at a script I really try to consider what experience am I embarking upon, because for me it's really about the experience. ~ Jennifer Beals,
504:My Brilliant Career was beautifully directed, but I had a bit of trouble with myself in it. It was a silly script, based on a book this 16-year-old girl wrote. ~ Judy Davis,
505:Normally when I'm sent a script I'll read it through to see how it hangs as a story and then I'll go back and read it through again and look at the character. ~ Colm Meaney,
506:Does it make you sad that we love the kids more than we love each other?” That exact line—those words in that order—had been in the script for months. ~ Jonathan Safran Foer,
507:I do finish reading a script and say, Why are they making it and what are they talking about? I like to try and be responsible in my choices in that way. ~ Jennifer Connelly,
508:If, when I looked, I was not perfect, how could I be beautiful? And if I was not beautiful, how could I be loved? I was not the only woman who ran that script. ~ Jan Ellison,
509:When an actor comes to me and wants to discuss his character, I say, 'It's in the script.' If he says, 'But what's my motivation?, ' I say, 'Your salary.' ~ Alfred Hitchcock,
510:It wasnt the greatest script in the world, but not many people can say theyve played a wicked king in a swashbuckling Arthurian special-effects monster movie. ~ David Thewlis,
511:I write on scraps of paper. I do it every other day. I write about people's lives or how people look or my experiences. I'm very detailed - it's like a script. ~ Tommy Wiseau,
512:A script is a very rough material in a way. Whatever questions you might have regarding the script, you might find the beginning of the answers in the book. ~ Isabelle Huppert,
513:Caste taboos had been broken, and a measure of equality introduced. But they had also become a distinct community, which for writing used a new script called ~ Rajmohan Gandhi,
514:If I spend a year and a half writing a script, the first year will be outlining in notebooks. It's just the way I work, definitely not necessarily the best way. ~ Rian Johnson,
515:I think what's difficult is proving to people that a script actually does work and sometimes the laughter might not be on the page, it might be between the lines. ~ Alice Lowe,
516:I thought ['Sailcloth'] was a terrific script. Elfar Adalsteins, the director, is bound to be a director we'll hear from, and the whole thing was really enjoyable. ~ John Hurt,
517:Much to my surprise, there's a sense for people in the cable industry that fiction writers might actually be good at script writing. You can write dialogue! ~ Matthew Specktor,
518:Suzanne [Collins] was very involved in the development of the script. She wrote the first draft. She was very involved with Billy Ray, when he wrote his draft. ~ Nina Jacobson,
519:Because the filming process was so organic and there was no script, the film [Dream of Life] was literally telling us what it wanted to be in the editing room. ~ Steven Sebring,
520:Everything is in a script for a reason, and only by being part of a writing team (or writing it yourself), do you really understand the intention of every beat. ~ Peter Jackson,
521:Getting movies made is not as difficult as people think. Making movies is easy. You get a script, you get a director, you raise the money, you make the movie. ~ Stephen Baldwin,
522:If you get a book which is 600 pages, you have to reduce it to a script of 100 pages. In two hours of film, you cannot possibly include all the characters. ~ Dino De Laurentiis,
523:I never practice before, I never work hours on a script. I just choose my characters and trust them, and after that, it's about the director taking your hand. ~ Melanie Laurent,
524:I try to research or make up for myself what happened in any character's life. From when he was born until the first page of the script. I fill in the blanks. ~ Viggo Mortensen,
525:This was when I thought I could rewrite any script. Now I'm grown and know that very few of us get to become the people we thought we'd be when we were kids. ~ Lauren Grodstein,
526:Covered in tats and can’t take your girlfriend getting a simple script. I’ll be finished in a minute, Mate.”

Travis’ frown deepened. “Wife. She’s my wife. ~ Jamie McGuire,
527:Decisions lead to options, options to choices, choices to freedom. We all design out own reality, write our own script, build our own house...or prison...or coffin. ~ M K Asante,
528:I don't get involved in casting, budgets, location or promotion. Just the script. And, of course, the promotional tour. Which is fine with me - I'm a novelist. ~ Nicholas Sparks,
529:If a script is good, you are 10 steps into the part just reading it. But my choices are not all down to my taste. It is about people you have worked with before. ~ Olivia Colman,
530:I feel like, as a filmmaker, I'm at my strongest when I write the script and when it comes from me, out of whole cloth. My best work has always been self-generated. ~ David Ayer,
531:I was really not familiar at all with Edward Snowden. I like to get that right out of the way and really learned most of what I know from Oliver's [Stones] script. ~ Melissa Leo,
532:Sometimes you do feel a script that glows in your hand the moment you start reading it. By page four of Shakespeare in Love, I said, 'I have to be in this movie. ~ Geoffrey Rush,
533:You live for those really great scenes where you almost feel that the film has gone beyond what was printed on the script pages and been raised to another level. ~ Tobey Maguire,
534:I find it easier to play someone who is so far from me because you create someone - you build this person based on the story and the script, with the director. ~ Marion Cotillard,
535:It's always once the script's done in the first two years if it doesn't get going somehow or another, I've never had an old script that someone's made later on. ~ Brian Helgeland,
536:I wonder if I would have been capable of producing anything if I worked in a more conventional way with a prewritten script, because I'm of the procrastinator class. ~ Mike Leigh,
537:Not knowing what's happening, from script to script, as an actor and as a character, lends itself to the same tension and anxiety of not knowing what's happening. ~ Matthew Davis,
538:People kept passing our [ with Robert Ben Garant] script around, and suddenly we had this reputation as screenwriters, which we're not - we're sketch comedy guys. ~ Thomas Lennon,
539:To me, movies and music go hand in hand. When I'm writing a script, one of the first things I do is find the music I'm going to play for the opening sequence. ~ Quentin Tarantino,
540:Usually, the biggest hang-up is the script. You could have a script done in six months that you love, or it could be like The Fantastic Four it's been almost 10 years. ~ Stan Lee,
541:Composers today get a TV script on Friday and have to record on Tuesday. It's just dreadful to impose on gifted talent and expect decent music under these conditions. ~ Alex North,
542:I like the discipline of writing a script. You can't go into the character's head - you have to find these creative ways to help externalize what they're thinking. ~ Gillian Flynn,
543:I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character. ~ Dennis Farina,
544:There's a script, then you're going to shoot the script and then you cut that and then that's the end of the film. And that's never really been how I've seen it. ~ Paul Greengrass,
545:This script was like a dish made from things you’d found in your larder and had to use up before they went off: a Welsh mountain, a casino, a blonde with a big bust. ~ Nick Hornby,
546:When I was 15 I lost a tooth and had an implant put in. Cut to 20 years later, I'm doing this part [Andy Bernard] and the script calls for my character to lose a tooth. ~ Ed Helms,
547:EastEnders' keeps me so busy - that is where I'm at and I can't see that changing too soon. There's nothing that has quite got the punch of an 'EastEnders' script. ~ Steve McFadden,
548:Everything you look at now, the scripts that come in that you look at, the television scripts are way better than the movie script. The talent is going to television. ~ Denis Leary,
549:I found Dolores Haze at the kitchen table, consuming a wedge of pie, with her eyes fixed on her script. They rose to meet mine with a kind of celestial vapidity. ~ Vladimir Nabokov,
550:I'm not looking for artistic license with the script. I tend to arrive at a form with the script and feel that that should be for the time being what we aim for. ~ Robert Schwentke,
551:In the original script, my character was a basketball player rather than a boxer. I didn't think I could pull that off. I'm a little short to be a basketball player! ~ Eddie Murphy,
552:It just gets frustrating playing the girlfriend, It's just this awful feeling, sitting in your house, waiting for a script to come. I like to be more proactive. ~ Joey Lauren Adams,
553:The script is your map of the world, isn't it? And if someone knows that if it's well-written, you get all of the beats, it will tell you everything you need to know. ~ Gary Oldman,
554:When I read a film script, I kind of see it in my head and I see the moments that shape what I understand the character to be. There's very little time for rehearsal. ~ Karen Allen,
555:I'd love to see a good script of one of my books, in these years of animations and comic book sequels, and had so many written over the years, but none quite clicked. ~ Carl Hiaasen,
556:I felt alive when I read a script and acted out a scene, or sang a song. It was my dream. I'm just very lucky that I'm still doing it and able to earn a living from it. ~ Luke Evans,
557:It is easier for a cannibal to enter the Kingdom of Heaven through the eye of a rich man's needle that it is for any other foreigner to read the terrible German script. ~ Mark Twain,
558:Sometimes a script comes along that really makes you sit up and pay attention... 'Life at These Speeds' has an emotional intensity that really kicked me in the guts. ~ Douglas Booth,
559:Suddenly, it seemed there were about a million times he was supposed to have kissed her, even without the benefit of a script, even without any sort of direction. ~ Jennifer E Smith,
560:The hackers who hacked into Sony have leaked the upcoming script for the new James Bond movie. Some of the executives said the news left them shaken but not stirred. ~ Conan O Brien,
561:This basic thing I always do: 'What happened between the character's birth, and page one of the script?' Anything that's not in the story, I'll fill in the blanks. ~ Viggo Mortensen,
562:We can have the final word on hate, neglect, disease and all the other insidious characters that still script their way into our stories...for now, but not forever. ~ Jennifer Beals,
563:But I've always been hard to cast, I've never been an ingenue, I've never been the romantic lead. I'm an actor; give me the script and I do what I do and hope it's good. ~ Edie Falco,
564:But the term code-script is, of course, too narrow. The chromosome structures are at the same time instrumental in bringing about the development they foreshadow. ~ Erwin Schr dinger,
565:I can connect with whoever I want to connect with in the world. And I can also write my own script. I don't have to follow rules. I can sort of just be unconventional. ~ Lynn Shelton,
566:I tend not to have any references to anything. I just jump into the script in front of me. If you reference too much, you have no idea if the performances are right. ~ Mads Mikkelsen,
567:I think there's something fun about television where, as an actor, when you read the script each week, it's like how the audience experiences watching the show each week. ~ Matt Barr,
568:It's always so much fun to create backstory. Even if there are more clues in the script, you still always have to invent a lot for yourself. I think that comes naturally. ~ Jane Levy,
569:When I'm writing, I don't put faces on the characters. When I finish the first draft of the script, I start visualizing, and sometimes then I think about one actor. ~ Pedro Almodovar,
570:When you don’t have honesty in love then there is no communication. Honesty is improvisation of the heart; anything less is a well thought out and rehearsed script. ~ Shannon L Alder,
571:I cling to the fantasy that I could have done something more creative. Like actually writing a script, or writing a book. But the awful truth is that I... probably can't! ~ Hugh Grant,
572:I have a very good memory for scripts. I can watch a show I like once, then remember about 90% of the script. But ask me who was in it, and I wouldn't have a clue. ~ Marcus Brigstocke,
573:I knew her work very well and I knew that if she offered me a role in her movie, it wouldn't be something stupid. So I agreed to do the film before I read the script. ~ Beatrice Dalle,
574:I love the script and I just thought it was a great role. Like I say, it's like this - the script is like this sad, funny, desperate love song to the lost American man. ~ Oliver Platt,
575:I read an interview with Mark Wahlberg, and he was like, ‘I might read a script and love it, but it’s all about the filmmaker.’ I think that’s a good lesson for me. ~ Shiloh Fernandez,
576:Sometimes you have a period piece where you have to research around it but, if the writers have done their homework well enough, the information is all in the script. ~ Mads Mikkelsen,
577:There are those who make music and movies in a linear way: They plan them, they have a script. Of course, you have to have a script sometimes, but that alone isn't enough. ~ Ry Cooder,
578:Tony Hale is a devout Christian and is a complete retard when it comes to swearing. The script called for him to swear for about 30 seconds and he just couldn't do it. ~ Jason Bateman,
579:And of course to work with Jack Nicholson and Diane Keaton, and work with a wonderful, beautiful script directed by Nancy Meyers, it was really for me a dream come true. ~ Keanu Reeves,
580:Even with revivals, I dont really pay attention to previous incarnations. I always just go with the script and with the director and am willing to treat it as brand new. ~ Kate Baldwin,
581:Hopefully, as I get older in the business, I make my choices more accurately, and I perhaps know from either the script or the first meeting that it isn't going to work. ~ Ben Kingsley,
582:I think it's very rare, as an actor, that you get to a script, or an idea of a script, and you go, "Oh, I just have to do that!" It fell into place very quickly. ~ Oliver Jackson Cohen,
583:I wake up to an email from the writers with the new script, and I always get so excited because I know it'll be better all-around than the script from the week before. ~ Bailee Madison,
584:On film, it's really nice to see that transformation from the beginning, reading the script, to know where he starts and where he ends, and be able to plan for that. ~ Cameron Monaghan,
585:When I do a novel, I don't really use the script, I use the book; when I did Apocalypse Now, I used Heart of Darkness. Novels usually have so much rich material. ~ Francis Ford Coppola,
586:Each item of business was described in the expansive, flourishing script that Balfour associated in his mind, with a man who could afford to waste his ink on curlicues. ~ Eleanor Catton,
587:I'm not one of these actors who can make a bad script good. Some actors, a script can be terrible, and they can bring something to it and make it really special. I can't. ~ Eddie Marsan,
588:Reading the script [Insane Farting Corpse], by page two or three, I felt that way. I thought, I'm in. It was so beautiful and insane and funny and I wanted to see it happen. ~ Paul Dano,
589:TV feels quite constipated, and the thing I find particularly difficult is the branding of the channels where it's not 'Is it a good script?' but 'Is it a BBC2 script?' ~ Sally Phillips,
590:I did all my directing when I wrote the screenplay. It was probably harder for a regular director. He probably had to read the script the night before shooting started. ~ Preston Sturges,
591:I love it when actors come to you with a problem and you have to listen. You'd like them to just get on with it, but it often means that there's a problem with the script. ~ Jane Campion,
592:It was just hilarious how my first reaction was, "Oh, no, it's another vampire show. I'm not interested." And then, I read the script and thought it was brilliant. ~ Oliver Jackson Cohen,
593:["I Don't Feel at Home in This World Anymore" ] really jumped off the page. And there were so many specific notes within the context of the script. Music cues, for instance. ~ Elijah Wood,
594:Normally, when I read a script, I read 30 pages, and then go have a cup of tea and come back. And then, I read 20 pages and go make a phone call, and then go back to it. ~ Luke Pasqualino,
595:When I do a horror or a fantasy film it all boils down to something in the script that surprises me. It could be a big thing or a small moment. If it's there I'll do it. ~ Lance Henriksen,
596:Without being good enough, I started figuring out how to make my way through the minefield of a script, which is what it was to me at the time, and the rest is semi-history. ~ Kurt Fuller,
597:As a rule it usually takes three or four readings for me to be interested in a script, and if I'm interested I'll read it three or four times before I make a strong decision ~ Chris Cooper,
598:If it's a modern-day story dealing with certain ethnic groups, I think I could open up certain scenes for improvisation, while staying within the structure of the script. ~ Martin Scorsese,
599:It's pretty rare that I watch a movie now without seeing the script in a way that I hate, where I can see the stage directions and the choices that the actors are making. ~ Mackenzie Davis,
600:I was a big fan of Joe's film, Narc, so when you hear there's a script coming over from Joe Carnahan, you know it's going to be interesting because he has such a fresh voice. ~ Andy Garcia,
601:I would love to produce a film. I have written a script and am in the process of writing another, so maybe it will happen down the road. I would love to do a film in Africa. ~ Judi Shekoni,
602:The guy that picked me up at the airport in 1985 when I was out in L.A. for my first audition was selling a script. I was a nobody coming off a plane to read for a new show. ~ Scott Bakula,
603:The way I sometimes approach my work, when I look at a script for the first time, is to identify what the archetypes are and what the writing is trying to do in that context. ~ Sarah Gadon,
604:A writer is a performer as well. A writer isn't the literary department. That gets tried on but nothing's a script unless a good writer goes away and does his thing alone. ~ William Monahan,
605:For the first time in my life I understood the true purpose of this sort of formal greeting. It gives you a script to follow when you have absolutely no idea what to say. ~ Patrick Rothfuss,
606:The character of Brent Spiner. We certainly collaborate on the concept of that, but he basically writes the script, then it's sort of a combination of his voice and my voice. ~ Brent Spiner,
607:I love involving actors at all levels - and they have to know that I want to hear their contributions, with dialogue, with story suggestions, with script changes, whatever. ~ Lasse Hallstrom,
608:I love TV, don't get me wrong. But with film, you're just banging out this one product and you're not waiting on another script. You have your script. It's great, in that way. ~ David Anders,
609:I'm just a hired actor who was hired for a particular job, but I think one of the joys of reading the script was the way that the personal and the global are woven together. ~ Jeremy Northam,
610:I've had various experiences where I've been called by Hollywood studios to look at a script or comment on various scientific ideas that they're trying to inject into a story. ~ Brian Greene,
611:I was in an acting class taught by Eric Morris, and Jack Nicholson was in the class. He wrote the script for 'Head', so all of us in the class got little tiny parts in the movie. ~ Teri Garr,
612:Some actors count their lines as soon as they receive a script. I'm the opposite. I try to see how many lines I can whittle down. You can say just as much in 4 as you can in 14. ~ Glenn Ford,
613:There's the acting side of it so you work with a coach. Dissect a script. If it's a character, then obviously a character study. Just depends on if there is training needed. ~ Scott Eastwood,
614:The script is the musical score, and everyone has to play off that score. Even I have to interpret it. The producers are there to eliminate obstacles to that interpretation. ~ Rebecca Miller,
615:The word Eternamate was painted in neat script on the door. Whatever that meant. She grabbed the handle and pulled, praying someone was working late. Thankfully, it opened. ~ Kristen Painter,
616:If I'm not afraid when I'm reading a script, that means I know I've done it before. If I read something and think, Wow, I can't play this part, then I want to play it more. ~ Linda Fiorentino,
617:I look at the script first and who's directing it and then talk to the director to find out what his vision of the movie is and if it matches my vision and then we go after it. ~ Frank Grillo,
618:I'm one of those actors where usually I'll read a script, and then I'll have a flurry of notes. I'll ask a hundred questions about things, and really get in there and examine it. ~ Clive Owen,
619:It's rare that a good writer will sit down and write a good script. Writers are greedy too, and they don't want to work without getting paid. But quality will find its way out. ~ Richard Gere,
620:Many times, when a director reads a script and wants somebody who says 'Far out', then they let me do what I want with it and that's usually more interesting for an actor. ~ Katherine Helmond,
621:Sometimes I read a script and it's obvious from early on that it's one where the suspension of disbelief has to develop strongly from page one. Some are more reality-based. ~ Gillian Anderson,
622:There was a script she was supposed to follow, lines she could read that would ensure the person who asked felt validated in their concern but not burdened by her emotions. ~ Brianna Labuskes,
623:When I find material that gives me a natural yet unique character point of view and has well - developed characters throughout the script, it makes the hairs on my arm stand up. ~ Mike Colter,
624:I just believe in the movie. I don't care what the book was like. I don't care what the previous film was like or other films were like. I care only about the script I've got. ~ Billy Connolly,
625:I mean, yeah, Anne Fletcher was a choreographer, but she was born to be a director. You need to have the ability to figure out people's rhythms. It all starts from the script. ~ Sandra Bullock,
626:I think one of the major things a director has to do is to know his subject matter, the subject matter of his script, know the truth and the reality of it. That's very important. ~ Robert Wise,
627:I wish in my own mind I were more definite - that I was absolutely convinced I'd never direct someone else's script, but I keep reading scripts, because I might find something. ~ Paul Mazursky,
628:Sometimes when it comes to the iconic kind of moments, when I read the script for the first time, you get little goose bumps or something because it really is kind of exciting. ~ Aaron Ashmore,
629:There's nothing better than finishing something and looking at it. Whether it be a script or a movie, it's this complete little thing that now exists and is hopefully immortal. ~ Cary Fukunaga,
630:Whatever happens in my life from now on, I know the day I finally die - the final act of my script - people will always make references to the work I’ve done with Almodóvar. ~ Antonio Banderas,
631:I'm sent a script. I read the script. If I love it, I want to do it. And that's it I don't care who's in it, how much money is behind it, really to an extent who's directing it. ~ Ewan McGregor,
632:You once liked the blissful mobility, but then you wonder, who's the real you? And who's the chap on the screen? You know, I catch myself acting out my life like a goddamn script. ~ Errol Flynn,
633:Compared to dancing, films seemed to me to be the work of lay bums. There was no physical pain; it was enough to say and imagine what was in the script. It was very easy for me. ~ Victoria Abril,
634:I created the characters from what I read in the script. I decided how I should talk, accent, no accent, my own voice, or a created voice. Then, I visualize what I should look like. ~ Ruth Buzzi,
635:I just wrote a really cool script. It's called "One Track Mind." It's an origin story about the most successful and the most foul-mouthed, outrageous songwriter in history. ~ Catherine Hardwicke,
636:In my script-like scrawl, I wrote: If you find my body, ask Hazzard. I leaned back and surveyed my words. Then I drew a little bow and arrow. The police would need clues, right? ~ Megan Erickson,
637:I was asked to do a reading of 'G.B.F.' and I loved the script. I thought it was one of the most amazing things I'd read, but it took a year to get a green light for production. ~ Sasha Pieterse,
638:Our world is a dream of the gods. Maybe they have other dreams. But all we have is this story unfolding, and in the script of this world, nothing's going to bring Altan back to life. ~ R F Kuang,
639:When I read the script sometimes, it's like 'Christ! Enough!' I can't sleep at night sometimes. There's the occasional script that just hammers you, that you can't shower off. ~ Mariska Hargitay,
640:Every film I try and make it the way I see it in my head, and it really just depends on the script and the people I'm working with or whatever interests me at that particular time. ~ Duncan Jones,
641:I'm always amazed that if you pick up a script of something you played years ago, it all comes back so quickly. Even in your body, you remember your blocking and how it felt. ~ Jennifer Westfeldt,
642:Lastly get emotionally connected to your story so you can deliver it, you know, if you can't deliver the emotions to your script there's no point to your story. Story is the key. ~ Robert Redford,
643:Some people say that they read the first 20 pages, and then decide if they want to do the film or not. But, I have to read the entire thing cause anything can change in a script. ~ Liana Liberato,
644:The 1789 Revolution had given the French a political script of unequalled drama. For the better part of the following century the temptation to reenact the play was irresistible. ~ Niall Ferguson,
645:The script is really always the main attraction, and then there's whether there is an interesting character and great people around you. Those are the key elements that I look for. ~ Rupert Grint,
646:The time will come when our bodies will irretrievably break down, but it is possible, indeed suggested within the script of nature, that a part of us might outlast these mortal coils. ~ Anonymous,
647:This was when I was a teenager and thought I could rewrite any script. Now I'm grown and know that very few of us get to become the people we thought we'd be when we were kids. ~ Lauren Grodstein,
648:When I can't get the character out of my head, and I'm in my bedroom and I start to actually act out the scenes that I've read in a script, I think okay, I really want to do this. ~ Saoirse Ronan,
649:You are here.” Torin would have bet her pension that the graffiti scrawled next to it in a script she didn’t recognize said, “And your luggage is in Antares,” or a variation thereof. ~ Tanya Huff,
650:I desperately want to feel that way again. To be in a relationship that I’m not trying to script or water down. It’s about wanting something real—even if it’s messy and complicated. ~ Emily Giffin,
651:I just think Australia tends to make very good movies, so if someone hands me an Australian or an American film script I would guess the Australian film would be more intriguing. ~ Barbara Hershey,
652:I only ever privately tell people stuff for the scene. And I often ask what they feel is right. Normally, by the time that we're filming, if it doesn't work, it always the script. ~ Richard Ayoade,
653:It`s the only time my education has come in remotely handy. -on using her Russian literature studies for copying her "Van Helsing" script into Russian to acquire a Slavic accent. ~ Kate Beckinsale,
654:I was totally involved in Bobby's World from the time we started the idea to sitting with the artists on how he would look, to the script meetings, the music, the lyrics, the songs. ~ Howie Mandel,
655:This was a really big opportunity. This script was even mediocre. The idea was great, but Jay came on with his guys made it great and very specific. It all came together well. ~ Sean William Scott,
656:When you are working on a script, the story itself is not difficult. You say this would happen and then this, resulting perhaps in this. And the dialogue you make as true as you can. ~ Louis Malle,
657:You can't start a movie by having the attitude that the script is finished, because if you think the script is finished, your movie is finished before the first day of shooting. ~ Steven Spielberg,
658:Everyone understands that [democrat Senator Harry Reid] is deliberately lying. The man reads his lies from prepared texts. You can't read from a script and then claim you misspoke. ~ Jonah Goldberg,
659:Every time I get a script it's a matter of trying to know what I could do with it. I see colors, imagery. It has to have a smell. It's like falling in love. You can't give a reason why. ~ Lena Olin,
660:High-level actors can be all about their close-ups and the size of their trailers. I'd heard these horror stories of how a really powerful actor can come in and change your script. ~ Neill Blomkamp,
661:If the script is not so good and it is a great director you're more likely to do it. But generally speaking, my passion for a project starts or stops with the quality of the script. ~ Dougray Scott,
662:I loathed William Frawley and the feeling was mutual. Whenever I received a new script, I raced through it, praying that there wouldn’t be a scene where we had to be in bed together. ~ Vivian Vance,
663:I'm writing a film called 'Bug.' It's an original script, and it's not about killer insects. It's a thriller set in a high school. The bug of the title refers to a surveillance device. ~ Wes Craven,
664:I put down the phone and finished lighting the cigarette. The blue cover of the script caught my eye. I picked up the telephone again. I gave the operator Tony Moroni’s home number ~ Harold Robbins,
665:I read the script, and I knew it was a good part. It was written for a white actor. That's what I'm up against - I have to try to make roles happen for me that aren't written black. ~ Gregory Hines,
666:I want to have a great director, and also a great producer and co-stars. And there should be a tight script. After all, regardless of how the film turns out, I must have fun doing the film! ~ Kajol,
667:They needed someone to write a script of The Great Gatsby very quickly for the movie they were making. I took this job so I'd be sure to have some dough to support my family. ~ Francis Ford Coppola,
668:Well, it's such an intricate, beautiful script about eight professional robbers pulling a heist, and it deals with elements of betrayal, trust, instinct, and need for relationships. ~ Harvey Keitel,
669:Honestly, the two main things that I always look for is, when I read the script for the first time, do I read it quickly? Because if I read it quick, that's an important telltale sign. ~ Colin Hanks,
670:If a good visionary wants to jump on board with that and I see their vision correctly and I like it and I like the script, I would absolutely do it but I have to read the script first. ~ Gina Carano,
671:If I do do a sequel, I'm going to have to know for sure that the script is better than the original. So I'm going to be very careful about that because I'm not eager to repeat myself. ~ Nicolas Cage,
672:I had the advantage of reading the book, and when the script was first submitted to me, it was just another gangster story - the east side taking over the west side and all that. ~ Edward G Robinson,
673:I have always been interested in theatre and after reading the script for THE INFLICTION OF CRUELTY, I thought that being part of this show and the Fringe would be a great experience. ~ Pawel Szajda,
674:In the 90's action pictures were all the rage. As a woman, I was fed up with them and I initially thought that the script was just another action film dressed up as a period piece. ~ Madeleine Stowe,
675:Sometimes you do a film because the script is amazing, sometimes you do it because you get to work with amazing people, and sometimes you do a film because they pay you money. ~ Sean Patrick Flanery,
676:There's a film I did called 'Front of the Class', about a teacher who had Tourette's. That was a beautiful blend of drama and comedy. There's some great moments of levity in the script. ~ James Wolk,
677:The script supervisor wasn’t pleased, but Quincy told him that sex wasn’t needed to show love.”
“Wow,” Josy said. “That’s deep. My name is Josiah Erickson, and I approve this message. ~ T J Klune,
678:Above all I needed to be made to think about what it meant that I was a woman, instead of acting unreflectingly as though I were a man, bound to live out the script of a man’s life. ~ Jill Ker Conway,
679:All too often, she felt like an actor in a play, performing only actions outlined in the script. She needed her apartment as a place to spill food, be loud, break things, be herself. ~ Amy E Reichert,
680:I wrote a script, and I gave it to a guy who reads scripts, and he read it, and he liked it, but he said he thinks I ought to re-write it. I said, "Fuck that - I'll just make a copy!" ~ Mitch Hedberg,
681:Reading a script is usually as exciting as reading a boilerplate legal document, so when you read one that makes you feel as if you're seeing the movie, you know it's something different. ~ Tom Hanks,
682:The formula for a successful film is simple: good script, good direction, a dedicated cast and a fantastic crew. If you have all of these elements then the rest will fall into place. ~ Hrithik Roshan,
683:Luckily the script [of X-files episode] was written wonderfully and that became who I was and I was quirky, and I was kind of agitated and not entirely happy, but at the same time, witty. ~ Rhys Darby,
684:Usually when you start the characters, the first thing is the script. Your design work is about telling the story. It's later that casting comes into play, but it's a huge component. ~ Alexandra Byrne,
685:What you believe one day isn't what you believe the next day and I think every writer secretly believes that they may never be able to do write good song or script again, but they can. ~ Cameron Crowe,
686:I’ve always been better at informing the audience through images than through words, but I took on a script that was so dialogue intensive, that the words had to do all the informing. ~ Jonathan Glazer,
687:Linguists had long known that Latin script—the everyday alphabet of today’s Western world—evolved from Greek letters, which had themselves derived from Phoenician, as did Hebrew.6 ~ William J Bernstein,
688:There's only one way to prep, so far as I know. You have your script, you hire the people you want, you find your locations and your setups, everybody shows up and you shoot the film. ~ William Monahan,
689:After I write a sequence, I just open the script and then sit at the piano keyboard and "play" the script. (And because I also draw and paint, sometimes I sketch out the action as well.) ~ Jeff Britting,
690:Good or bad, the reality is most people become ‘famous’ or get ‘great jobs’ after a very, very long tenure shoveling shit and not because they handed their script to someone on the street. ~ Amy Poehler,
691:His lines had been honed over centuries, passed down through generations, for poor people needed certain lines; the script was always the same, and they had no option but to beg for mercy. ~ Kiran Desai,
692:I think every job you have to lie to get. You always say how wonderful it all is, that it's an amazing script - "I love you, you're such a great director." I think every actor does that. ~ Travis Fimmel,
693:It's just I hate reading the description 'offbeat' about a character in a script, because I, along with Seth Green, Jamie Kennedy and a few others, have cornered the market on 'offbeat.' ~ Breckin Meyer,
694:Now, Norman was used to all kinds of strange, but this was something he had never experienced before. As he stood staring at the script, the paper turned yellow and parchmentlike ~ Elizabeth Cody Kimmel,
695:What happens is things come to you - director, script - and if you respond to it, it's because it's tapping into some part of what's inside you, and different roles tap into different parts. ~ Sean Penn,
696:As soon as I read the script for Hannah Montana, I knew it kinda related to me. I wanted to disguise myself as not some celebrity's daughter, just be me and find people that like me for me. ~ Miley Cyrus,
697:Generally, Hollywood makes the same stories over and over. I've never wanted to do the same thing twice. If a script doesn't surprise me in some way, I simply can't commit to the project. ~ Sherilyn Fenn,
698:I try to look at the whole thing and say 'yes' to the projects that I cannot stop thinking about. If I read a script and the subject stays with me - then that's when I want to go to work. ~ Penelope Cruz,
699:On Stranger Than Fiction, the script was so good that I stuck to every line because it was just such brilliant writing from Zach Helm that I felt like I really just want to shoot the page. ~ Marc Forster,
700:Before I moved into the mainstream of American movies, I wrote a script as an experiment. I wanted to get very far away from the clichés about the three-act play - structure, development. ~ Jack Nicholson,
701:Seeing a film at the cinema, or a DVD or whatever at home, your brain is really receptive to not only whether the script's working, or if the actors are acting well, but also the colours. ~ Crispian Mills,
702:We kind of lost a lot of that and puppeteers were sticking to the script and we thought everything needed to get a lot funnier, so we thought we would go to a good improv comedy instructor. ~ Brian Henson,
703:What's going to be hard for me is to try to divorce myself as much as possible from what I wrote. I'll have to approach it simply as raw material and try to craft a film script out of it. ~ Michael Chabon,
704:Even if I loved the script, the director has to be right because it's all about the filmmaker. It's their vision. They're the ones that go back into the editing room and reassemble the film. ~ Cameron Diaz,
705:I didn't want to do 'Casino Royale' when they told me to audition. I said no. Then they sent me the script, and I thought it was actually very interesting - and I had no other work at the time. ~ Eva Green,
706:I've turned down jobs because I've said, 'Honestly, I can't find my way in. I can't do it. I love you, as a director. I think the script is good. You deserve better than I think I can do.' ~ David Duchovny,
707:The thing about the movie 'Navy SEALs' is that it was just such a waste. The script could've been shaped to be much better, and you just hate to see all that talent and passion go to waste. ~ Michael Biehn,
708:The truth is, there are probably eight more Snow White scripts floating around out there. And once one Snow White script got hot, other people started pulling out their Snow White scripts. ~ Evan Daugherty,
709:I'm doing another Churchill. I did a Churchill for HBO and that was up to 1939 and there's talk of the war years. They were going to do it this fall, but the script wasn't going to be ready. ~ Albert Finney,
710:It's very tricky to know when to stop. I think there are definitely moments where you feel that is the heart of a scene. When you're working on the script, you're looking for a handle on it. ~ Oliver Parker,
711:When I initially read the script, it goes inside and comes out different things even without commenting on any stuff. And then, those pieces are taken out and then spread out through the movie. ~ A R Rahman,
712:When I saw the script [of The Man], I saw the character and knew I could do the character. It's a relationship movie, which is also what I love to do. That's what attracts me to projects. ~ Samuel L Jackson,
713:"Admission" is Paul Weitz's movie. This is Karen Croner - the screenwriter's - movie. To have such a lovely role in such a beautifully written script offered to me, it's like elves made the shoes. ~ Tina Fey,
714:I always read the script, try to imagine myself in the role, then decide whether I have anything to give to the part. If you don't feel like that in the beginning, it is not going to go well. ~ Kristin Davis,
715:I am not just sitting and reading everything because honestly sometimes the scripts that appeal to me are projects that are not good projects, but I just really like the script or the characters. ~ Megan Fox,
716:I was studying my 'Bold and Beautiful' script the other day, lying in a hammock, when one of my Siberian tigers walked up and grabbed it out of my hand - she wanted to play. See - teeth marks! ~ Tippi Hedren,
717:The way I prepare is through script analysts and back story. I create back story for a character based on script analysts, filling in as many details as possible. I also do a lot of research. ~ Katie Cassidy,
718:You have to be a great storyteller. And you have to master the tools that you have to tell the story which are, inorder of importance, the script, the actors and then thetechnical means. ~ John Frankenheimer,
719:You know when a script is good but you don't have any knowledge how visually it is going to look. When this [Happy Valley] came out and I saw the first episode and thought it was terrific. ~ Sarah Lancashire,
720:I'd like to have the script in a much better place from day one of shooting, rather than trying to continue to work on it while you shoot it. I think those are lessons you learn on any film. ~ Joseph Kosinski,
721:It was also wonderful to have the prospect of playing with Jack Nicholson. It was a terrific part, a terrific script, with Alexander Payne and Jack Nicholson. You can't get any better than that! ~ Kathy Bates,
722:The moment that you start to read a script, you're watching the movie in your mind, and that's the one moment that you have. Then, you go off to make the movie and you become so lost in it. ~ Michael Angarano,
723:As a fanboy myself, one of the fun things about the gig has been every time I get a new script, I get to find out more about his day - to-day life and what goes on and what his relationships are. ~ Clark Gregg,
724:I absolutely made the decision that that cannot be the reason why I'm doing a film or a job. For me, it's always about the script and whether I'm doing something that I've never done before. ~ Jessica Chastain,
725:The prize frame is the window through which you look at the world that allows you to see yourself as the prize: The money has to earn you, not the other way around. You’re flipping the script. Why ~ Oren Klaff,
726:There is an ancient script that says, 'He that wishes to be ignorant, let him be ignorant.' But I took off the last word and it now reads for me like this: He that wishes to be ignorant, let him be! ~ Jim Rohn,
727:With a terrible script you hustle and try to make it better. But with a good script it can be trouble because you rest on your laurels, so to speak, you think it's going to translate easily. ~ Robert Downey Jr,
728:You can't ever let yourself be thrown by a camera. That's never good for an actor. When you're reading the script, you want to work with someone you trust so there's nothing to worry about. ~ Jennifer Lawrence,
729:I'm reteaming with the producers of 'Twilight' on an awesome script. It's very serious, dramatic and different for me. I'm excited to see what's next. I love all aspects of film and all genres. ~ Taylor Lautner,
730:In a letter to Francesco Vettori of 18 March 1513, Niccolò gives us a vivid summary of his youth: ‘I was born in poverty, and at an early age learned how to script rather than to thrive.’ 1 ~ Niccol Machiavelli,
731:I was trying so hard. I would memorize the entire script, then I'd be lipping everybody's lines while they were talking. When I watch those episodes, it's disgusting. My performances were horrible. ~ Will Smith,
732:Sometimes directors feel a script needs something, but they're not sure what it is, so they show it to a friend; if the friend is a writer, he ends up kicking around with that script for a while. ~ Tom Stoppard,
733:The difference between the first time I read something and the tenth time I read something is generally pretty profound. Even if the script is the same, just the way that I read it is different. ~ David Sedaris,
734:What I hope in my ideal world is that with each project, I'll either get to work with a really great script that would force me to grow, or work with a really great actor who will make me better. ~ Laura Linney,
735:You can either be on the stage, just a performer, just going through the lines... or you can be outside it, and know how the script works, where the scenery hangs, and where the trapdoors are. ~ Terry Pratchett,
736:I don't spend a lot of time judging anyone I play. Even if their function in the script is to be the villain, I concentrate on what their perspective of the events is. Not even to justify them. ~ Peter Sarsgaard,
737:Some reviewer might be out there saying, obviously Edge of Darkness didn't come off because of the script, blah blah blah, but everybody has read the script, except the journalist attacking it. ~ William Monahan,
738:The better the script is the more you can commit, but you can only really commit with full confidence when you know the material is as strong as your level of commitment to it and it frees you up. ~ James McAvoy,
739:The way you get your script to the right people is that you put it in an envelope. It's easy. The difficult bit is writing something that is so good people will take a punt on a brand new writer. ~ Steven Moffat,
740:Well, obviously, as soon as I'd finished the script I read a lot of books on Winston Churchill, and started to gain weight and really prepare emotionally, mentally and physically for the role. ~ Christian Slater,
741:You hit the wall almost right when you get up to the top. If there's a female writer being suggested to do a rewrite on a script, it's always the big boys going, "Mm, let's go with [a man]..." ~ Jennifer Aniston,
742:I also really pay attention to whether the script embodies a full female character or if they're just wanting a two-dimensional objectified woman. So I also have that aspect to take care of as well. ~ Karla Souza,
743:I really choose by what I like, i thought 'Alexander' was a super smart script. Just [costar] Steve [Carell] alone would have been enough. Gosh, I love working with that guy. He's just the best. ~ Jennifer Garner,
744:It took seven years from the time I wrote Mad Men until it finally got on the screen. I lived every day with that script as if it were going to happen tomorrow. That’s the faith you have to have. ~ Matthew Weiner,
745:Jazz music is the power of now. There is no script. It's conversation. The emotion is given to you by musicians as they make split-second decisions to fulfill what they feel the moment requires. ~ Wynton Marsalis,
746:The reflection of the flame in the glass seems to be touching the hand. And you feel the helpless fear of these dismembered parts. This sort of thing can hardly be visualized at the script stage. ~ Terence Fisher,
747:When I read the script, I liked the script very much and I thought it was a marvelous part for her, because I think it is a change of pace. I mean, we know how wonderful she is in romantic comedy. ~ Albert Finney,
748:I find that when people get a script, they know within five pages if the writer can write. Once you're five pages in, it doesn't matter whose name is on the cover, you're not even thinking about it. ~ Danny Strong,
749:I like to begin every screenplay with a burst of delusional self-confidence. It tends to fade pretty quickly, but for me, at least, there doesn't seem to be any other way to start writing a script. ~ Michael Arndt,
750:When I was working on Big Fan, I didnt really feel like any lines needed to be changed or enhanced or expanded upon in any way. I thought it was a solid script. All you had to do was what it said. ~ Kevin Corrigan,
751:When you first start out as an actor, you're just looking for a good part. As time goes on, if you're being held responsible for the movies themselves, you're looking for a good script all around. ~ George Clooney,
752:When you read a script, you don't want to be the same guy all the time, you want to change, you're a different person. That's why acting is a wonderful career. You're not the same guy all the time. ~ Robert Loggia,
753:I'm not accustomed to doing films without seeing the script. There are certain people that are auteurs, and you accept them regardless of whether you see a script or not. But Spielberg is not an auteur. ~ John Hurt,
754:The difference between a movie star and a movie actor is this - a movie star will say, 'How can I change the script to suit me?' and a movie actor will say. 'How can I change me to suit the script?' ~ Michael Caine,
755:Whether I'm writing the script, or someone else writes the initial draft, I'm always an actor's director first. I always try to listen to them a lot, and try to put their voices into their character. ~ Dito Montiel,
756:Each film is different. Time Code was very quick - a matter of months. Miss Julie has been on my shelf as a script for some seven or eight years. But then the shooting process was very quick - 16 days. ~ Mike Figgis,
757:I'm not Akira Kurosawa. He used to write...He used to write a completely new spec script over a couple of nights. I'm not like that. It takes me a long time to put a film together that I want to make. ~ Duncan Jones,
758:I think there's so many little specific things in the script [of "I Don't Feel at Home in This World Anymore"]. And the script was also structured so beautifully that I didn't want to mess with it. ~ Melanie Lynskey,
759:When I started writing the script I thought that maybe someone else would direct it, but then I started to fall for it so much that I left the other project and I put all my time on The German Doctor. ~ Lucia Puenzo,
760:It's an honour to have such a wonderful international cast on board for this world famous murder mystery. Writer Stewart Harcourt has created an exquisite script. His attention to detail is impeccable. ~ David Suchet,
761:There's a rumor that there may be an attempt at organizing a possible script for a series on my life, which, when you look at my police record, you'd have to have more than one hour to tell the story. ~ Merle Haggard,
762:The script [for the movie based on the life of singer Connie Francis -- "Who's Sorry Now?"] is finished and is in the hands of several artists to see if somebody wants to film at the start of [2006]. ~ Gloria Estefan,
763:Everybody, everybody everywhere, has his own movie going, his own scenario, and everybody is acting his movie out like mad, only most people don’t know that is what they’re trapped by, their little script. ~ Tom Wolfe,
764:It can have an enormous effect because big budget movies can have big budget perks, and small budget movies have no perks, but what is the driving force, of course, is the script, and your part in it. ~ Morgan Freeman,
765:I've never taken a script to the stage or to principal photography and said, "This is perfect. This is as good as it can possibly be." It's not Shakespeare, you know; you know it can probably be better. ~ Harold Ramis,
766:I've seen a lot of friends who have a lot of great projects, whether it's a script or a play or whatever, and it is a great project and they have great people involved, and they can't make it. ~ Philip Seymour Hoffman,
767:So you have to keep waiting and then they give you the script and it's terrible. Then you have to go to the rewrite and they're very upset because you didn't like it. I went through that for seven years. ~ Salma Hayek,
768:Aaron is not at all what his image might indicate. He's fiercly loyal and a true and total gentleman. He's very shy but has very strong opinions. He's into everything, wardrobe, hair, script, casting. ~ Stephen Collins,
769:For me, my storyline [in Big Little Lies] is very complicated and nuanced. [The script] was so beautifully written. It was very, very easy to play. ... I think one of the scenes is almost eight minutes. ~ Nicole Kidman,
770:For me, the work begins with a rough cut of the film. I can't do much with the script. I've tried to write music to a script prior to seeing the film, but I've found it turns out to be a waste of time. ~ Cliff Martinez,
771:If you try to make a silent movie with a normal script and you just pull out the dialogue, you will have big problems with the actors because you will ask them to tell a story that you don't know. ~ Michel Hazanavicius,
772:If you want guarantees in life, then you don't want life. You want rehearsals for a script that's already been written. Life by its nature cannot have guarantees, or its whole purpose is thwarted. ~ Neale Donald Walsch,
773:I notice that a little bit at The Office, with, like, an actor: If I decided there'd be a certain way in the script, it would still seem open-ended, whereas ... if I was a man I would not have seen that. ~ Mindy Kaling,
774:Jazz improvisation is a speech without a script. It’s twelve notes and doing anything she pleases. There are no rules, no boundaries. Verbs don’t have to follow nouns. There is no gravity. Up can be down. ~ Lisa Genova,
775:The truth of the matter is this - I never look for films specifically, because ultimately if the fundamentals of the character and the script and the director aren't there, it makes it a moot point. ~ Leonardo DiCaprio,
776:If you have a script that's not great, if you have a great director, you can make a great movie, but if you have a great script with a director who's not good, never are you going to have a good movie. ~ Monica Bellucci,
777:I wondered how it was that you could spend weeks, months—years, even—just chugging on, nothing really changing, and then, in the space of a few hours, the script of your life could be completely rewritten. ~ Rosie Walsh,
778:I would love to work with Salman. We have a great tuning so if we work together, it will be great fun. But till the time we don't get a good script, a script that excites both of us, we can't work together. ~ Aamir Khan,
779:Life isn’t a bloody comic strip, kid,” Ryodan said coolly.

“Yes it is,” he said, “and we get to write our own script, so be epic or vacate the page. You’re all taking this way too seriously. ~ Karen Marie Moning,
780:Me and a friend literally had the idea for Wedding Crashers and pitched it, and it was already a script. They go, "That's funny! You should call it The Wedding Crashers." It was almost exactly like that . ~ Rich Fulcher,
781:One of the fascinating things about early writing on slates, on papyrus, even on early handwritten books, is for instance, there were no space between the words. People just wrote in continuous script. ~ Nicholas G Carr,
782:sloppy script and felt a pang of guilt. She started to close the notebook but paused in thought. It didn’t feel right. It didn’t seem…truthful. With a heavy hand and a heavy heart, she added in parentheses ~ Chanda Hahn,
783:So "Embrace Of The Serpent" is told from the points of view and in the languages of the indigenous peoples of the Amazon. He [Guerra] went there before shooting began, with a script written mostly in Spanish. ~ Tom Cole,
784:If you are locked in a room in your dream, you just tell yourself there’s a key in your pocket.  Then you reach in your pocket for the key and get yourself out. It’s your dream.  You get to write the script. ~ Terri Reid,
785:I had never really done something that was more of a horror film, and its funny, because those are the kind of movies that I like probably more than any other genre. The script had images in it that I liked. ~ Tim Burton,
786:I mean, the first “Back to the Future” is kind of a perfect script, I think. In terms of handling time travel the best, it depends on your definition. To me, that means it effectively uses it in the story. ~ Rian Johnson,
787:I'm so respectful of good writing. It's the blueprint for the movie. You have to have that script there because, if you don't, you're going to have problems. It's very important. It's also a gut instinct. ~ Molly Shannon,
788:I need to push myself. I'm not saying that I just want to do anything that's shocking, but when you have that combination of a script that's really beautiful and extremely shocking, it's exciting for me. ~ Emily Browning,
789:Jerry picked up the technique of visualizing the story as a movie scenario; and whenever he gave me a script, I would see it as a screenplay. That was the technique that Jerry used, and I just picked it up. ~ Joe Shuster,
790:Often I don't read novels. The script is more important, that's the springboard to your imagination, really. Peripheral information can be interesting to read but you can't use it when it's not in the script. ~ John Hurt,
791:We taped all this and then got it transcribed and picked the best lines or ideas or ways to take a scene. I've done that many times, and it can improve the script but also wreck a perfectly good scene. ~ John Schlesinger,
792:Wonder Woman didn't begin in 1941 when William Moulton Marston turned in his first script to Sheldon Mayer. Wonder Woman began on a winter day in 1904 when Margaret Sanger dug Olive Byrne out of a snowbank. ~ Jill Lepore,
793:From Ennio [Morricone] I ask for themes that clothe my characters easily. He's never read a script of mine to compose the music, because many times he's composed the music before the script is ever written. ~ Sergio Leone,
794:I do love comedy, but I'm not brave enough to tackle a script whose goal is to make you laugh. That's tough. The ones that can do it, I tip my hat off to them, but I don't have that kind of humor or mind. ~ William H Macy,
795:I'm not fixed in any genre. I love all kinds of films. The essential thing is; you have to have good material. If you have the filmmaker, and the material, and the script is good, you can start from there. ~ Jason Statham,
796:Nobody is out to sabotage an entire script and do an improvisational experiment of a movie, but when they're feeling something in the moment, let them make it their own. That's what makes them great actors. ~ Dan Fogelman,
797:Sometimes you read a script and it's like, "You'll improv and this is just a blueprint of what the scene could be," and that's never a good sign. And it's never encouraging as an actor to take that on, really. ~ Paul Rudd,
798:I'd trapped myself in a script.... But to be scripted at all is to be prepackaged, programmed, pinned to a page. Only the unwritten can truly live a life. So who I was, what I was, had to be unwritten. ~ David James Duncan,
799:Instead of living out of the scripts given to me by my own parents or by society or by genetics or my environment, I will be living out of the script I have written from my own self-selected value system. ~ Stephen R Covey,
800:I think I remember from the offset I said, 'I've visited this territory. This isn't for me.' And then I read the script and I said, 'You know, this is completely something different. This is a whole new life.' ~ Jared Leto,
801:Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters. ~ Samuel Fuller,
802:The worst is when I talk myself into something. Sometimes you take things because you want to work with a certain actor, or you want to work with a director, even if the script or the part's not that great. ~ Jessica Lange,
803:When preparing for the fight choreography, the first thing I have to think about is what fits in the script. Whatever goes along with the story line and the character's personality; they have to be matched. ~ Yuen Woo ping,
804:For me, the experience of making the show is very much like being in a novel. I enjoy getting the new script. I make a cup of tea and I read it the same way I would read a book, with the same amount of joy. ~ Billy Campbell,
805:I got sent the script [ Before I Go To Sleep] as usually happens and you have a little look. I know it's a bit of a cliché, but it was absolutely a page turner. I mean, I wanted to find out what happened next. ~ Mark Strong,
806:I simply asked if I could have a go at adapting a screenplay. But I did not want any money, in case I failed because I did not want a script out there with my name on it that might be completely dysfunctional. ~ Ben Affleck,
807:The movie creaked along, obvious and mediocre plot. Mediocre script, mediocre music. They ought to have sealed the thing in a time capsule and marked "Late 20th Century Mediocrity" and buried it somewhere. ~ Haruki Murakami,
808:The root of any film project for me is this inner need to express something. What nurtures this root and makes it grow into a tree is the script. What makes the tree bear flowers and fruit is the directing. ~ Akira Kurosawa,
809:And when I'm on set, I'm just thinking about the script and of working. I think I've stayed focused on the work so much that I haven't really noticed my life start to change except for I've gotten busier. ~ Jennifer Lawrence,
810:I don't like to see mistakes on the typewriter. I like a perfect script. On the typewriter I will sometimes leave a phrase that is not right, not what I want, simply because to change it would be a bit messy. ~ Chinua Achebe,
811:I like to rehearse with the actors scenes that are not in the script and will not be in the film because what we're really doing is trying to establish their character, and good acting to me is about reacting. ~ Jim Jarmusch,
812:I'm working on the Star Wars script today and the people in my office have covered up all my windows with black paper. I guess they wanted to make sure no one could see what I was doing. It seems rather extreme. ~ J J Abrams,
813:In television you don't have a lot of time to spend with the role or the script. Typically you get a script a week prior to shooting. Sometimes it's even less time, not enough time to dream about the role. ~ Chadwick Boseman,
814:I was open to anything. That doesn't mean I would do anything, it just means I was open to anything. I've met for dramas, single camera comedy, multi-camera comedy. I take each script as an individual project. ~ Skylar Astin,
815:On Phantom... I listened to the music while I was reading the script. And it had just blown me away. I really... I was so excited about it. It's been a long time since I really got so excited about something. ~ Gerard Butler,
816:There is a story that you have to tell within a certain amount of time, and you can only show so much of the character. So as much as the script is born from the source material, there are certain limitations. ~ Henry Cavill,
817:Fox came to us with the concept for ICE AGE and they came to us with the first draft of the script. They also gave us a mandate to make it into a comedy from what was previously a rather dramatic action concept. ~ Chris Wedge,
818:I am sent too many mainstream scripts in which the older woman is really quite grotesque. Sometimes you read a script and you feel quite sick that they have to caricature older women in such a negative way. ~ Sigourney Weaver,
819:I didn't want to play a rancher. I didn't want to have a cowboy hat on; I wanted to get away from that in the things I do. But I read the script and fell in love with it. As hard as I tried to say no, I couldn't. ~ Tim McGraw,
820:I'll put it this way, there was no C.P. Kennedy, there was no Dwight Dickham, we never went in the courtroom. That was the script I got. The affliction that the judge is suffering from was completely different. ~ Susan Downey,
821:It felt a little as if we'd found a script that had been written just for us, and we were reading through the beginning quickly [...] hurrying so we could get to the part that mattered, whatever that was to be. ~ Nancy Garden,
822:Trust me when you read the script for Bad Santa 2 I knew exactly what I was getting myself into. I read the script first, and I was laughing out loud and blushing and couldn't believe what I was reading. ~ Christina Hendricks,
823:When Roseanne read the first script of mine that got into her hands without being edited by someone else she said, 'How can you write a middle-aged woman this well?' I said, 'If you met my mom you wouldn't ask'. ~ Joss Whedon,
824:I'm extra harsh on pilot scripts, which is difficult because pilots, generally, are not that great. You have to imagine the whole series instead of just that one script, and I have a really hard time doing that. ~ Lizzy Caplan,
825:I think Alma Reville was the only one Alfred Hitchcock trusted. When it came to issues of taste or what the audience wanted, down to editing, script and casting, he would turn to her first. She was his partner. ~ Sacha Gervasi,
826:The script is a blueprint for the film - there are very few bad scripts that make good movies. If you really like the character and understand the utility it serves within the movie, that's a part of my process. ~ Topher Grace,
827:The script will point you in certain directions and I go the opposite if I can. I try do do one thing and tell a different story with my eyes. I believe what's more interesting is always what's not being said. ~ Robert Carlyle,
828:When I began making movies, the only crew jobs available to women were as script girls and in the editing department. As a result, I still think of movie crews as male. And in fact, they still predominantly are. ~ Sidney Lumet,
829:I'd love to do a sci-fi movie, a western, or an espionage thriller. But I'm not going to limit myself. If a good script comes along, I'm not going to discount it because it doesn't fit into one of these genres. ~ Park Chan wook,
830:In a perfect world, my tennis game gets better. I have kids and a beautiful wife and live on some hill somewhere that's not in Los Angeles. And the script that Tom Hanks just barely turned down gets in my hands. ~ Matthew Perry,
831:In reviewing films, people get quite liberal about saying "the script" this and "the script" that, when they've never read the script any more than they've read the latest report on Norwegian herring landings. ~ William Monahan,
832:I really believe that when you're playing a character that everything is contained in the script. If I'm pulling from things from my own life, then I think I'm being disingenuous to the character and the story. ~ Walton Goggins,
833:The Scriptures function as the script of the worshiping community, the story that narrates the identity of the people of God, the constitution of this baptismal city, and the fuel of the Christian imagination. ~ James K A Smith,
834:You get all the puzzle parts together enough to say the puzzle is complete. It's a script. In the process of realizing that, new ideas can come, one way or another. Through a happy accident, they just come to you. ~ David Lynch,
835:After all, to love somebody is to give them the power to hurt you, and nobody can hurt you if you’re the only one writing the script. But it doesn’t work. Controlling people are the loneliest people in the world. ~ Donald Miller,
836:I feel as though my career really hit its high point when I was cast as a supporting actress in 'American Wedding'. I thought the script had a lot of depth and intelligence, and it really just jumped off the page ~ January Jones,
837:I love making 'iCarly' - it's so much fun, and I love getting the script every week and not really knowing what insane thing I'm going to be doing. It's just like an adventure every episode; that's really fun. ~ Miranda Cosgrove,
838:I'm never certain of a performance - my own or the other actors' - or the script or anything... But to me it seems there's only one place in the world the camera can be, and the decision usually comes immediately. ~ Orson Welles,
839:It helps, if you've directed, to be able to write a script that is director-friendly. You're really telling them [directors], "This is how it works on this show." It takes some of the guesswork out of it. ~ Amy Sherman Palladino,
840:My agent sent me the script and I loved it. I wondered how they would turn me into a chimp. My agent said it would probably not entail to much time. Just some hair and make-up. I found out that it was not so simple. ~ Kim Hunter,
841:Secure writers don't sell first drafts. They patiently rewrite until the script is as director-ready, as actor-ready as possible. Unfinished work invites tampering, while polished, mature work seals its integrity. ~ Robert McKee,
842:She waited for him to say something more. The silence held ciphers of truths that lingered between them, written in a script that neither knew yet how to decipher. This would not be the moment they were given sound. ~ Elise Kova,
843:What I learned is that I should probably read a screenplay every once in a while before I said 'yes'. You could make bad film out of a good script, but you're never going to make a good film out of a bad script. ~ George Clooney,
844:Whats fascinating is that when you write a script, its almost a stream of consciousness. You have an idea that it means something, but youre not always sure what. Then when you get on the set, the actors teach you. ~ Gary Oldman,
845:A solid theatrical education can only improve a screen performance. It gives you a fuller capacity to read a script and understand a character, for one thing. Its important to alternate between the two activities. ~ Toni Servillo,
846:I'm not Shakespeare. I have no delusions of who I am, as a writer. I wrote a simply beautiful script that's a fun-filled, joyous fantasy, and I was fine with making changes for the actors that made them comfortable. ~ Steve Antin,
847:Once again, I had the sensation that everyone else was working off a fully rehearsed script, and I was being asked to improvise. “I just meant—nothing,” I said, hoping for a clue on what my line was supposed to be. ~ Jeff Lindsay,
848:Our eyes are not viewers, they're also projectors that are running a second story over the picture that we see in front of us all the time. Fear is writing that script, and the working title is 'I'll never be enough' ~ Jim Carrey,
849:THE RULE OF RE-CREATION Sometimes in life, the script we’re given no longer fits the story we want to live. We realize the rules we were following were assigned by someone who did not have our best interests in mind. ~ Jeff Goins,
850:The script was just the best I'd read in a long time and I love the humor, which I wasn't expecting, and I like the fact that my six year old daughter can see the show without being, you know, protected from it. ~ Stephen Collins,
851:At Christmas, individuals are apportioned their roles in the family script - you're either the funny one or the sensitive one; or you either do the cooking or the washing up. And those roles aren't easy to change. ~ Tom Hiddleston,
852:I became a script writer with absolutely no idea of how to write a script whatsoever. I still feel a bit of an outsider in that regard. If I can maintain that approach to screenwriting, it can continue to be enjoyable. ~ Nick Cave,
853:I'd already rehearsed it [ Don't Kill It script ] for the first time it was supposed to happen and the second time. That was a blessing in disguise because the character [Jebediah Woodley] grew a little bit in me. ~ Dolph Lundgren,
854:I didn't want my script to get too out of control like that. So I actually made it a point not to do stuff like that, to pretty - to keep it more sparse than it's been in the last few years, or the last decade. ~ Quentin Tarantino,
855:I don't think I had a script on 'King Kong.' But usually you read a script and then you go and audition for it. It's rare when there's no script. I sort of like the latter better, because I'm more successful at it. ~ Kyle Chandler,
856:If you are making a script based on a book it can be frustrating going back to the source novel, because you're turning the story into a totally different thing; the narrative of film is different from that of a book. ~ Clive Owen,
857:I had one well known director who kept saying, "Now Clint, this is what ...." And I'd say, "I know. I read the script. I'm the one who cast you as the director. Let me show you and you'll correct me if I'm wrong." ~ Clint Eastwood,
858:I tend not to read the size of the production into a script when I'm reading it. It's just something you respond to or not and I do think it's very dangerous to say it's time now to do this or it's time now to do that. ~ Eric Bana,
859:I was told once that I didn't play the Hollywood game, and that's why I wasn't a big star. What they meant when was that I don't go to parties, and when I go to an audition and I don't like the script, they know it ~ Sherilyn Fenn,
860:There’s an old joke about Alzheimer’s: the good news is that you meet new people every day. Sanderson has discovered the real good news is that the script rarely changes. It means you almost never have to improvise. ~ Stephen King,
861:We live like actors in a play who are given only one line at a time, going through the motions without understanding the full story. But when you get in touch with your soul, you see the whole script for the drama. ~ Deepak Chopra,
862:When I was in film school at USC, I wrote my thesis script about a woman on Wall Street - specifically a woman who used to work at Morgan Stanley, sort of based on her life. Through that process, I did some research. ~ Meera Menon,
863:If you sat down and you wrote a script, you may write something that's way beyond what you've ever seen me do, but if you thought of me to do it, I would be flattered to be asked to do something other than be wise. ~ Morgan Freeman,
864:I've never played a manipulative, drug-smuggling lesbian before. For me, it's pushing me in an area that's great. There are days when I'd read the script and I'd be like, "Oh, God, I can't believe I have to do that." ~ Laura Prepon,
865:I was very keen to work on the script with Scott Derrickson and [C. Robert] Cargill, and working out the important story beats, changing lines, upping the comedy, changing the pace, all of that was great fun. ~ Benedict Cumberbatch,
866:With acting I am being led by the script, other actors, the director, etc. But with songwriting I feel it is much more self reliant and allows me to be in the creative experience without being as dependent on others. ~ Helen Slater,
867:With my first book, I was hired to write a draft of the script. I was so young and less confident. They put me through seven or eight drafts and it was just getting worse and worse, and then the film was never made. ~ Emma Donoghue,
868:I'm just an actor. It's the way the script is written, and it's easy. I don't have think about it. When you receive the script, you know pretty well how to play it, apart from little technicalities like the accent. ~ Anthony Hopkins,
869:Once you get the script, you then hope you can get the director that you want. Then you hope he can get the cast he wants. Again, you can go quickly or there can be a million stumbling blocks. There's just no way to know. ~ Stan Lee,
870:Sometimes I will read the whole script just to see what my character is doing, but I won't touch a script that I'm not in because it's just so much more exciting as a fan to me to watch the show as it's happening. ~ Gabrielle Dennis,
871:We go through, I think, six different drafts of each script. And then my shooting it is roughly, you know, fifteen percent of the total work that gets done on a show. Then it's all post-production animation after that. ~ Steve Burns,
872:What's the beginning? What's the end of Act One? What's the end of Act Two? And what's the ending? If you know those four things, you can write a script. If you don't know the answers to those four questions, you got dick. ~ Unknown,
873:felt as a teenager, but instead of playing the victim and letting negative emotions sap my energy and force me to the surface, a failure, it was as if a new light blazed in my brain that allowed me to flip the script. ~ David Goggins,
874:He's a very funny and very nice man. When you read the script, you want to stick with it. But when you're with Eddie Murphy you've got to improvise. He's always making jokes and making me crack up when the camera's on. ~ Raven Symone,
875:[Noah Hawley] just a fantastic writer. It's always about the script, it's always about the book; it always is. If it ain't on the page, it ain't on the stage. That's what attracted me to him first and foremost. ~ Lauren Shuler Donner,
876:Stephen [King], who wrote the script himself, was on the set [of The Stand], and I was just so fortunate to get to know him. What a wonderful man. He may go down in history as the greatest American writer, pound for pound. ~ Rob Lowe,
877:Taylor Sheridan I think wrote a very good script. It reeked of authenticity. He seemed like a guy who knew what he was talking about and it turned out that Taylor's uncle is a Marshal, so he knew things from that side. ~ Jeff Bridges,
878:DONOVAN: Court’s a good leader. He doesn’t hold my hand or treat anyone like a child. He’s kicked a few *sses when guys went off script to make their own moves. Once he even scared the sh*t out of one of the older guys. ~ Bijou Hunter,
879:I don't think comedy is something you learn. I think it's something that's either there or it's not. When I read a script, I have to see the funny, and if I can see it's funny, it helps me to be able to transmit that. ~ Jessica Walter,
880:My sister and I said, Dad, are you doing to do anything about that? And he mentioned treatments other people sent him that he'd been working on. So we thought it would be kind of cool to give these guys a real script. ~ Rae Dawn Chong,
881:Not all offers I get are exciting and inspiring. I would rather sit at home and not work than jump into mediocrity for the sake of just moving ahead. If its a good script, I would sacrifice my personal time and grab it. ~ Rani Mukerji,
882:For me, each film, each script is like a little journey in itself, and I'm reinventing the wheel. It's like how do I make this film. That's part of the pleasure and that's why I'm not a normal professional director. ~ Pawel Pawlikowski,
883:For me, when my agents and reps send me a script, I read it through, just for the story purpose of it, and then I read it again to think of my character and see if it's something that I'm interested in bringing to life. ~ Dania Ramirez,
884:If nothing lasted and the world did not exist, all that meant was that reality was not fixed. The illusion she lived in was fluid and mutable, and could be easily altered by someone willing to rewrite the script of reality. ~ R F Kuang,
885:It's always the script first choosing roles. [Then] whoever else is attached. I never like to be the first person attached, because I don't really trust what's going on, unless there's a really good director. ~ Christopher Mintz Plasse,
886:Unless you loosen the hold that your past has on you, your future will unfold in much the same way . . . it is time to begin writing a new script that accurately reflects the beautiful, powerful, and worthy being you are. ~ David Simon,
887:When I read a script and have my first interaction with this character, do I feel like there's something I'm gonna' learn here? If I feel like it's something I've done before, then what's the incentive for me to do it? ~ Bill Skarsgard,
888:With proper acting, I don't know what I would play - I got sent a script for a play, and it said in the notes that my proposed character was 'hideously fat and ugly'. That made my day. I mean, I do know I am no oil painting. ~ Jo Brand,
889:Empathy is a strange and powerful thing. There is no script. There is no right way or wrong way to do it. It’s simply listening, holding space, withholding judgment, emotionally connecting, and communicating that incredibly ~ Bren Brown,
890:I had the luxury of working on the script with Andrew [Dominik] for a good year before the film started, so I was already intimate with the story [of The Assassination of Jesse James] and felt quite prepared walking into it. ~ Brad Pitt,
891:I read the first book about five times while I was preparing for the role. I really wanted to completely embody Lissa and, naturally the book gave me much deeper psychological and emotional insight into Lissa than the script. ~ Lucy Fry,
892:I was actually looking at comedies and wondered, 'Why is every comedy for a women a romantic one? I was so done! Then I said, 'Could I look at every script Jim Carrey rejected?' It didn't center around me getting a man. ~ Sandra Bullock,
893:The script for this film was written 52 years ago by Edward R. Murrow, who taught us many valuable lessons about responsibility and always, always questioned authority, because without it authority often goes unchecked. ~ George Clooney,
894:What I mostly do is take the script, analyse the hell out of it, see what's in there, see what kind of person I'm dealing with, and then forget I'm playing a father and just play a person who exemplifies all those things. ~ John Mahoney,
895:Why were there some people who seemed so sure of themselves that it made him feel small and ignorant by comparison, as if they had a script to life with all the answers on it? He felt he didn't even know the questions. ~ Marcus Sedgwick,
896:Actors are loved because they are unoriginal. Actors stick to their script. The unoriginal man is loved by the mediocrity because this kind of artistic expression is something to which the merest five-eighth can climb. ~ Patrick Kavanagh,
897:American television is very much created by the writers, just the volume of it. The writers are so key. You're just trying to do something that serves that script. And in general, film isn't all about the script, really. ~ Richard Ayoade,
898:I'm basically a writer, it's who I am. I direct and I like theatre directing very much. But I've done 17 movies, they don't say 'Let's get Garry, he'll make a helicopter shot,' they say 'Get Garry, he'll fix the script.' ~ Garry Marshall,
899:It's much harder to act in a bad film than in a good one. A terrible script makes for very difficult acting. You can win an Academy Award for some of the easiest acting in your career, made possible by a brilliant script. ~ Michael Caine,
900:I've gotten much better at multi-tasking. It's hard, though. But, writing a script is not totally focused. You're taking little breaks, all the time. If a kid runs in, you give 'em a horsey ride. It's a pretty fluid process. ~ Matt Damon,
901:I was deliciously happy filming True Blood. I even kept all the scripts in my office, which I never do with any script. Although I did shred them all in one go when the series finished; it seemed like a ritual, somehow. ~ Michelle Forbes,
902:Our audience is all the girls who made Britney a huge star. Those are the girls who bought the book. I didn't read the book at first. I read the script just to see what I would think of the script and I really liked it. ~ Virginia Madsen,
903:All movies are alchemy and time is one of the ingredients that goes into the alchemy. You want the time to be right; you don't want to rush it. You need the right script, the right cast and the right feeling in the culture. ~ Drew Goddard,
904:[Before I Go To Sleep] script was a great journey with all the twists and turns that were kind of unexpected. I had to finish the script, and I thought if we can emulate this in the film, it's going to be a really good film. ~ Mark Strong,
905:I do music because I can just pick up my guitar and sing, and completely satisfy, instant gratification. I don't need a script, I don't people, I don't need anything, cameras, I just have myself and my guitar, or keyboard. ~ Jeremy Renner,
906:I had written the script a few years earlier for Paramount, then later got hired with Sam [Fuller] to write an entirely new script that he was going to direct. And that was one of the great thrills of my professional life. ~ Curtis Hanson,
907:In the lower half of one wall, she has traced the word so many times in such enormous script—LOVE, each letter the size of a child—and gouged so deeply into the stone that the O has formed a tunnel, and she has gotten out. ~ Lauren Oliver,
908:Melancholy isn't always a disorder that needs to be cured. It can be a species of intelligent grief which arises when we come face-to-face with the certainty that disappointment is written into the script from the start. ~ Alain de Botton,
909:Melancholy isn’t always a disorder that needs to be cured. It can be a species of intelligent grief which arises when we come face-to-face with the certainty that disappointment is written into the script from the start. ~ Alain de Botton,
910:The thing that I look for in a script- I'm not looking for anything next because you never know where life's going to take you so you can't just expect I want to do this next. So I'm not expecting anything, I'm just hoping. ~ Julia Garner,
911:What has always been at the heart of film making was the value of a script. It was really the writer who could make or break a film. But as we all know, the writer has always been at the bottom of the creative heap. ~ Douglas Fairbanks Jr,
912:When you're developing a story, for me anyway, it's all so important to get the script right, especially when you're telling the story of an icon. You've got to get it right. Otherwise, you'll get killed by critics and fans. ~ Graham King,
913:While we're working on the script, I never see any films. I make it a point because I don't want to get distracted. I don't want to be influenced, and before I know it, have somebody say, "My God, she plagiarized that line." ~ Deepa Mehta,
914:You know how we built the pyramids? You gotta ask yourself a question always flip the script. What if up was down and down was up? What if you looked down into space standing up on Earth? This is how we built the pyramids. ~ Eddie Griffin,
915:All of a sudden, those few pages of script that he had shown me with the weird images I could visualize all of that in my brain, and I knew that there was this mad little genius at work here and I really wanted to do the film. ~ Jack Nance,
916:A script is just a script. A good script can be a bad movie, so easily. It's the process that makes it good. You need a good script, don't get me wrong, but you need all those other things to make a good movie. You really do. ~ Joel Surnow,
917:Emanating from this giant thorn is an endless, perhaps automatic, need to assimilate and to mimic. Assimilator and assimilated interact through the catalyst of a script of words, which powers the engine of transformation. ~ Jeff VanderMeer,
918:I think there's something strange about writing a script I've written many, many scripts - dozens and dozens of scripts - and every time I start one, I think to myself: 'why in the world do I think I know how to do this?' ~ Brian Helgeland,
919:Once, I optioned a novel and tried to do a screenplay on it, which was great fun, but I was too respectful. I was only 100 pages into the novel and I had about 90 pages of movie script going. I realized I had a lot to learn. ~ Gene Hackman,
920:We are all working from the same dog-eared script. It’s a very difficult era in which to be a person, just a real, actual person, instead of a collection of personality traits selected from an endless Automat of characters. ~ Gillian Flynn,
921:When I read the script, I said to one of the producers, "I know you probably want Jonathan Harker really fluffy, but I'm not gonna do that. It needs to be a mask. There needs to be a duel between Harker and Dracula." ~ Oliver Jackson Cohen,
922:But I loved the script to 7th Heaven and couldn't say no. It made me laugh and cry, and I was hooked. I'd love to know who turned it down, because I'm sure at least one other actor did. But I'm glad he did, whoever it was. ~ Stephen Collins,
923:I'm not really a director for hire. You read these scripts and go, 'This is a really great script, but Paul Greengrass would make this so much better than me.' I usually say, 'I know who would be good for this. It's not me. ~ Stephen Daldry,
924:Some people always have to be doing battle with someone, sometimes even with themselves, battling with their own lives. So they begin to create a kind of play in their head, and they write the script based on their frustrations. ~ Anonymous,
925:The sanserif only seems to be the simpler script. It is a form that was violently reduced for little children. For adults it is more difficult to read than serifed roman type, whose serifs were never meant to be ornamental. ~ Jan Tschichold,
926:Different directors have different things, so when I left Mike Leigh, as it were, and I went into other projects after 'All or Nothing,' it took some getting used to - what do you mean there's a script?!?' That kind of thing. ~ Sally Hawkins,
927:He looked so sorry and miserable as he pushed me out the door. It stung. It always stings when there's this whole story going on and you're really just a B-plot walk-on who only got a look at three pages of the script. ~ Catherynne M Valente,
928:I would like to do a lot more of it, I feel comfortable with it and basically it's all in the writing. I'm not a personality type actor, I need a good script in order to be funny, but it's definitely something that I like doing. ~ Ray Liotta,
929:Sometimes my interest in working on a film is not always dictated specifically by the character. Sometimes it's simply about wanting to be a part of a vision that I love, or a script that I love. I find exciting and gratifying. ~ Elijah Wood,
930:Ford!" he said, "there's an infinite number of monkeys outside who want to talk to us about this script for Hamlet they've worked out. ~ Douglas Adams,
931:When the script for 'The Wrestler' kept coming to me I said, This movie is so good if you put me in the film as a wrestler people are going to say, 'No credibility, Hulk Hogan isn't a good actor,' whatever Hollywood thinks of me. ~ Hulk Hogan,
932:When you're doing an animated series, you tend to pitch storyboards. You write a script and then you draw a comic version of that script and put it up on big boards, and then you pitch it to a big room of executives and writers. ~ Alex Hirsch,
933:Forget about it," he said. "Sell it to a philosophy quarterly or an urban anthropology journal, or write a fucking script if you want and let Spike Lee shoot the motherfucker, but it's not going to run in any magazine of mine. ~ Roberto Bola o,
934:I don't see the script as just a springboard for my interpretation. You do your best to serve the vision writers have - not by removing yourself from the equation, but by trying to filter what they intended through your artistry. ~ Joe Mantello,
935:I have a background in theater. At the time I read The Loved Ones script, I was playing Catherine the Great of Russia onstage. Straight after that, I played Stella in A Streetcar Named Desire and Isabella in Measure for Measure. ~ Robin McLeavy,
936:I'm not a writer, inherently. Most of the writers I've met have stories they need to tell. I don't have that. I'm an interpreter. I like getting a script, seeing a character and thinking, "Oh, wow, I know what I can do with that." ~ Mark Strong,
937:I read a script or I read a project or I read a novel and I know that I'm going to spend two to three years of my life with that, exclusively. So you better like it. There better be an honorable, real need to make that movie. ~ Robert Schwentke,
938:When you write the script, you're home in a room by yourself, and you're writing, and there's no connection with the real performing world. So you get a lot of things wrong and make a lot of mistakes and make a lot of bad choices. ~ Woody Allen,
939:Donald Trump’s first year in office followed a familiar script. Like Alberto Fujimori, Hugo Chávez, and Recep Tayyip Erdoğan, America’s new president began his tenure by launching blistering rhetorical attacks on his opponents. ~ Steven Levitsky,
940:Of all the stars whom I worked with, I think Steve knew better what worked for him on the screen than any other. He had such a sense of what he could register, and that helped a lot in terms of shaping the character and the script. ~ Robert Wise,
941:The hardest thing for me is getting started. If I'm writing a script, really 90 per cent of it would be just walking around, climbing the walls, just trying to put the idea together. Then the final 10 per cent would be writing it. ~ Aaron Sorkin,
942:There are clues in the script... he will say "I think drugs are immoral"'... but the guy who says that kills, tortures, pimps and has whores working for him. There is this strange morality going on, which is rather like the Mafia. ~ David Suchet,
943:And then we've got Blades of Glory, and we've got Brothers Solomon, and I've got a script in development with this guy Chuck Martin who used to write on Arrested, and, you know, we have a few things in various stages of development. ~ Will Arnett,
944:Cameron Crowe is someone who I've admired for so long, and I've been friends with him for many years, and I've wanted to work with him so badly that I just never stopped bothering him about writing a script that would be for a pilot. ~ J J Abrams,
945:It's weird how an actor can read a script and think 'it's really good, it's really funny, that's going to be really dramatic...' and then you get there and say: "Oh, I have to get in it? I have to get in the water?! Are you kidding?" ~ Jamie Bell,
946:I've also worked hard portraying an Ireland which is fast disappearing. Ireland was a very depressed and difficult place in the 1980s, and I've tried to include that in the script. I worked really hard to find the heart of the book. ~ Neil Jordan,
947:You never have any idea where your movie's going to go when you're shooting - you're in this little bubble. Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it. ~ Morten Tyldum,
948:'7th Heaven' was a big ensemble cast, so everyone would get a turn. Basically, I'd get a script that focused on my character and think, 'Oh, I'm working every day this week.' The mindset was I've got more to do, so I had to focus. ~ Tyler Hoechlin,
949:I can picture certain things in my mind, while writing the script, but then I can also tell that everyone else might be a little confused about what it's supposed to look like at the end of the day. But it all works out. I find a way. ~ Rob Zombie,
950:Karma becomes most relevant if we simply examine it as a psychology of habit. Karma is about beginning to see the general script we act from, the strategies we employ when confronted with familiar obstacles along our commute. This ~ Ethan Nichtern,
951:When I choose projects, I don't stipulate between film or theatre or television. I receive scripts and I read scripts - and when I read a script that's good, I then get married to it and talk to my agent about what happens next. ~ Dominic Monaghan,
952:When script is written well, then you start to make decisions of, "Well, do I want to be away from home for that long? Do I like the people involved?" When it's written well, a lot of those things go away and you can't not do it. ~ Michael Cudlitz,
953:When you see a bad romantic comedy, you see the script, the director, and the actors trying to create this warmth and this pathos and this feeling that you care about them. That cannot be manufactured - it's either there or it isn't. ~ Jeff Garlin,
954:Whether it's a lower or higher budget project, a TV show or a film, the words on the page are the same to me and I approach the work in the same way. My job is to lift the character from the page, whether it's a TV or film script. ~ Michael Eklund,
955:Woody Allen, that was a dream come true, although I never really talked to him. Auditioning was fun, because you don't really hear much about the script. They just said, "They want a Woody Allen type," so of course I got the call. ~ Peter Jacobson,
956:Definitely the script because you want to be part of an interesting story, you want your character to be a challenge, then comes the director. But essentially it's the script first and whether it's a character that you think you can do. ~ Eric Bana,
957:Finding a good script is really difficult and the scariest thing of all is when they say about a script that's not right, "we will fix it.." It's like before you get on the Titanic and you see a big hole. In process, it's too late. ~ Robin Williams,
958:I don't want to take all the time. I just want to do what you wrote and let me go from there. I don't want to miss something. You know, I'm not really a writer per se, but I can write. But I can't put a script together like they can. ~ Jackee Harry,
959:I'm thinking about directing, but I know it's a lot of work and I appreciate what directors do and I would like to be good at it. The opportunity has presented itself four to five times, and I usually said no because of the script. ~ Angela Bassett,
960:In 'Law & Order,' your main job is to stay out of the way of the plot. On another show you'd receive your script and see stuff that seems challenging and feel excited that the writers thought highly enough of you to write it for you. ~ Jeremy Sisto,
961:Living here in California, I think one of the scariest things about California is the fact that it is rewriting its script and changing constantly and so many people don't know who they will be and who they will be with a year from now. ~ Pico Iyer,
962:O'Kelly's disregard for cliche is so sweeping that it almost has its own panache. I find this entertaining or irritating or mildly comforting, depending on my mood, but at least it makes it very easy to prepare your script in advance. ~ Tana French,
963:Sometimes I dream that I'm working; that's awful. When you awaken after a big, surprising dream, you feel it's very interesting. When you sit and write it down, you realize it's a very poor script. But I may find ideas while dozing. ~ Michel Ocelot,
964:I didn't read the script [ Rules Don't Apply ] for a couple years. It basically amounted to this kind of apprenticeship with Warren [Beatty]: conversations and learning about his whole background in the film industry and his life. ~ Alden Ehrenreich,
965:I learned one thing from De Niro: He taught me to listen. Nobody says anything strictly from the script. It's improvised. It was the best piece of advice I have ever gotten in my life. It has helped me through the past thirty years. ~ Cathy Moriarty,
966:I personally take cues directly from the script, then I like to surprise the other actors. But you must maintain control on a level and see how far you can go up, down or out emotionally. You have to balance the craft with spontaneity. ~ Lusia Strus,
967:Something like Shakespeare in Love, which became such an established hit that it now seems like a foregone conclusion... but it really wasn't. The script was around for a very, very long time and had people chickening out all the time. ~ Colin Firth,
968:Here's the thing - you can't be careful about what you pick because what looks like on paper is going to be a great script has often turned out to be a disaster, so there's no way to know what's going to work or to pick the right thing. ~ Halle Berry,
969:I did not have a script [of Close Up]. I made notes in the evenings and we filmed during the day over 40 days.I didn't sleep a wink for those 40 nights. I have a picture from the end of the shoot, and in it I have lost all my hair. ~ Abbas Kiarostami,
970:If you don't script your own way once and for all, your story will be written by someone else, and your actions will be guided by other people's dreams of who you should be rather than by the bright jagged thing you really are. ~ Carolina De Robertis,
971:It is sad because you would like to believe that everyone is unique and then they disappoint you every time by being exactly the same, asking for the same things, reciting the exact same lines as though they have been handed a script. ~ David Sedaris,
972:And remember how he wrote the first Rocky in a few days, and wouldn't sell the script even though he was starving, because they wanted to put somebody else in the lead role. To see what he's accomplished, dog, that's what it's all about. ~ Terry Crews,
973:I'm a great fan of Michael Mann and when he asked to see me I couldn't believe it. I was very happy. I met him and I read this beautiful script. I didn't know anything about Dillinger. I fell in love with the movie and Michael Mann. ~ Marion Cotillard,
974:In the hieroglyphic script, the power of the words were matched by the power of the symbols themselves. The symbols were regarded as being so powerful, precautions had to be taken to prevent them from taking on a life of their own. ~ Storm Constantine,
975:Well, PT Anderson sent me a script of Boogie Nights which I let lay around my house for about three months, then one day I'm cleaning my office and decided that I'd better read this before the guy calls me back. I never put it down, bro. ~ Luis Guzman,
976:What I look for is identifying what the utility of a character is to the telling of the story overall. If I can identify that from reading the script, then I've got a clear idea of whether or not I think the character is worth playing. ~ Harrison Ford,
977:When you are filming, you have to let the thing really open so you can bring more life and details into it and even look for some kind of imperfection. It's good to have a good script but then you must make a mess out of it, I think. ~ Pascal Chaumeil,
978:I'd like to do the young cadet thing again for sure, but that's why I wanted to do this, to see if I could do it. I took the scenes out of the script and put them together and read them as one little arc, story and that seemed to work. ~ Scott Speedman,
979:I really like doing television shows, and I anticipated doing a comedy, because that's the place I feel the most comfortable - those are the risks I want to take. But it was always really hard for me to find a script that I really liked. ~ Lizzy Caplan,
980:I was at home waiting for projects. I was on Parenthood and there was one season left, and I was thinking, "What's next?" I'm at this age where I'm trying to write my own script, and they sent this over and I decided to put myself on tape. ~ Ray Romano,
981:Some people always have to be doing battle with someone, sometimes even with themselves, battling with their own lives. So they begin to create a kind of play in their head, and they write the script based on their frustrations.” ========== ~ Anonymous,
982:Wow,’ said Eddie. Oriole had revealed the secret of her necklace to him many times in the past, in exactly these terms, following the script of the tour she conducted for visitors through a fragmentary scale model of her vanished life. ~ Michael Chabon,
983:All of a sudden I pulled up short and harked back to Ridley [Scott] holding up the script in Manhattan, at the St. Regis breakfast room, and saying, "It's very visual, isn't it," and realized it was the key to my whole life since then. ~ William Monahan,
984:And I'm auditioning right now for a movie, and then I have a script that I'm reading right now for a horror film, and I'm meeting for a couple of television shows that I just had yesterday, and pretty much was offered one of them. ~ Trishelle Cannatella,
985:I feel very blessed in my career to have been able to bounce back and forth between different things, television and film, comedies and some dramas, but I am, um, as long as the script inspires me and there good people, that's it. I'm in. ~ Geoff Stults,
986:If there is a book that the script came from you have to read it, you have to see what you can get out of it: mood, back story and things that may not even be in the film. They kick off your imagination and broaden the character, I think. ~ Miranda Otto,
987:...if you don't script your own way once and for all, your story will be written by someone else, and your actions will be guided by other people's dreams of who you should be rather than by the bright jagged thing you really are. ~ Carolina De Robertis,
988:I guess the idea of not wanting to choose to direct a film, for which I've not read a script. It's a tough decision to make without seeing any pages. That's not to say that I don't have all the faith in the world in the spectacular writers. ~ J J Abrams,
989:The action star's life is very short. Back in Asia, I can do whatever I want to do. I'm the producer, I'm the director, I can do so many things, but in Hollywood any time I present a script they say: "No, no, no, Rush Hour 3, Rush Hour 4." ~ Jackie Chan,
990:When we observe a person who says one thing and does another, we might be looking at a liar, but we might also be looking at a person who hasn't yet been able to turn her ideas into a script that is concrete enough to guide her actions. ~ Danielle Allen,
991:Because we already live with many scripts that have been handed to us, the process of writing our own script is actually more a process of “rescripting,” or paradigm shifting—of changing some of the basic paradigms that we already have. ~ Stephen R Covey,
992:Being an actor myself I realize that all actors believe they are qualified to play any role. If you showed me a script with a black woman character I would tell you that I could do it. That is what we do. We act as if we are someone else. ~ Richard Masur,
993:I improvise whenever I feel it's important, or whenever I think that something's there. It's nice to have a script that's so well-written that I don't have to improvise. I mean, I used to have to re-write whole movies; this is kind of nice. ~ Bill Murray,
994:It slightly depends on your perspective, sort of how you look at these things, but when I sit down to write a script, I'm not planning to write a script; I'm planning to make a film, and so I only see the script as being just a step there. ~ Alex Garland,
995:Marvel is very secretive, so there was no script. About six months before production, they gave me some pages and it was from a cop movie. And then, six months later, I got a phone call saying, "Do you want to come do this?" [iron Man] ~ James Badge Dale,
996:Now, before you make a movie, you have to have a script, and before you have a script, you have to have a story; though some avant-garde directors have tried to dispense with the latter item, you'll find their work only at art theaters. ~ Arthur C Clarke,
997:Sometimes with these things all the pieces fall into place. I mean, we've been talking about this for years and we don't have the script now, but sometimes things fall into place very quickly, and if everything lines up it could happen. ~ Joseph Kosinski,
998:A friend of mine wrote a script, a feminist romantic comedy. She had a feminist scholar consult on it. My friend said, "Oh, my friend Gillian read it and really loved it." She goes, "Gillian Jacobs, you mean: Britta Perry, feminist icon?" ~ Gillian Jacobs,
999:If I remember correctly, pages 26, 42, 58, 77, 91, 103 and 118, basically all the places in the script where one of my people has a speaking part, he or she screams. No words, just screams. So you should at least get the screams right. ~ Viet Thanh Nguyen,
1000:Many times, I like to read the script before I even know who they want me to play, so I can read it and really enjoy it as an audience member. I think that's given me the ability to ferret out the really special scripts from all the rest. ~ William H Macy,
1001:The difference between film and TV, for me, is just that huge thing of knowing that there's a script that is not going to change and you can go really deep into that. With TV, you're just constantly on a high-wire, making sure you don't fall. ~ Seth Gabel,
1002:When I was in New York, a lot of my friends were studying filmmaking and would bring their scripts to me, as I was a good script doctor. I would read their scripts and make corrections to them for $20 per script and was fascinated by films. ~ Arjun Rampal,
1003:I feel guilty if I'm not reading books, but I read scripts of movies or things that I know I'm committed to that I'm going to do the project. I tell myself, "I'm going to read this script like six times," and I only read it the initial time. ~ Jim Gaffigan,
1004:I love shooting, when the character is interesting and the script is interesting, but the research beforehand is really fun. The whole process makes me anxious and restless, and I have trouble sleeping, just trying to figure out the character. ~ Matt Damon,
1005:It so depends on each script, because you can say... I always thought I wouldn't have wanted to do something that was kind of like as big and commercial as 'The Dark is Rising,' but I really liked the script. I thought it was really clever. ~ Amelia Warner,
1006:My mom is a script supervisor. It's like the family business. It never had that feeling of entertainment. It was always more like, "Eh, it's just a movie," with that crew mentality, which is, "We've done it before and we can do it again." ~ Kristen Stewart,
1007:The script's always important, but there are some things that have come out in the past year that, when we read them, everyone was like, "Oh my god, this is going to be the next best thing!" Then the movie falls completely flat on its face. ~ Douglas Booth,
1008:I'm not really looking for anything. I don't really have a dream role that I'd like to play. When I read a script - I guess it's quite interesting, especially with theater - I get a sense about it. It's in my body: I sweat when I read a play. ~ Lydia Wilson,
1009:I thought one way to try to hold on to the power was to write the script myself. That way, I could say to filmmakers, "I'm not asking you to hire me unseen. I'm just saying, 'Here's my script. Can we work together?'" So that worked out well. ~ Emma Donoghue,
1010:It's rare that I've read a script where I'm like, "Oh, my god, it's hilarious!" All you want is a good skeleton and good characters. Then, you can go, "Okay, I can bring a lot to this. I can improvise and I can create something out of this." ~ Nick Swardson,
1011:Part of me was fascinated by the idea that I would only get next week's episode a week in advance and wouldn't actually know where I was going with it, until the script landed on my mat. But, part of me wanted to know what was going to happen. ~ Mark Strong,
1012:This is Quilty's audition ritual: whenever he feels it is time for it, he calls upon himself to audition for love. He has no script, no reliable sense of stage, just a faceful of his heart's own greasepaint and a relentless need for applause. ~ Lorrie Moore,
1013:To me, real comedy comes out of behavior. It's the choices you make as an actor. It's never about, "I want to do a comedy script." I can't think of it that way. And besides, some of those movies, those comedy movies, I can't even watch them. ~ Robert Duvall,
1014:We played more rock music when we were writing the script. 'Renegade'. All of the Styx songs. All of the old '70's and '80's music, that's the stuff that's pounding in the background while we were doing this stuff. It's a part of those movies. ~ Todd Farmer,
1015:I remember going to Bob Preston's dressing room because I was losing a laugh - as you do in a long run. He said, 'Give me the script. That's where you're going off the road.' That's comedy. It's never the line itself; it's in the foundation. ~ Jeffrey Tambor,
1016:I was on vacation with my family when I got the scripts for 'Wanderlust' and I was trying to work on the audition while I was on vacation. I remember a big gust of wind blew the entire script into the pool, so I had to dry it with a hairdryer. ~ Kathryn Hahn,
1017:Nobody ever takes note of [my advice], because it’s not the answer they wanted to hear,” Martin said. “What they want to hear is ‘Here’s how you get an agent, here’s how you write a script,’… but I always say, ‘Be so good they can’t ignore you. ~ Cal Newport,
1018:They're naughty, all those writers - they mess around with people. I know James Gandolfini got a bit fed up on 'The Sopranos': if he said anything in front of a writer, told them a story from his life, it could make its way into the script. ~ Kelly Macdonald,
1019:Whatever character you're playing you have to complete the entire interior infrastructure, whatever it is - but what gets divulged or what people completely understand depends on the script and what you decide to show. But you have to know it. ~ Jason Patric,
1020:When you're playing a real person there's a balance between playing the person in the script and playing the person as he was in life. You have to be respectful and true to who that person was, but at the same time tell the story in the film. ~ David Tennant,
1021:Doing a film and saying, I've done a really dark film and now I have to do a comedy... That's not me. If a script comes along and it's dark I'll absolutely do it and take the consequences. I'm not fussed about the image that goes along with it. ~ Daniel Craig,
1022:I had written the script for Juno and apparently Steven Spielberg had read it. I can't just call him Steven, that's weird... Mr. Spielberg had read it and he liked it. He asked me if I would write this television show for him and I said, 'Yeah!' ~ Diablo Cody,
1023:I laughed, and he kissed my nose, and I wonder how it was that you could spend weeks, months — years, even — just chugging on, nothing really changing, abs then, in the space of a few hours, the script of your life could be completely rewritten. ~ Rosie Walsh,
1024:What I’m talking about is free will. Do we have it, or does God dictate and script everything we do and say and want? Do we have free will, or do the mass media and our culture control us, our desires and actions, from the moment we’re born? ~ Chuck Palahniuk,
1025:I'm blessed with learning easily. I've always had a good thing about memorizing quickly, and I just leave the script kind of open somewhere, and as I walk by I'll just take a swipe at it and then go on about my business and pretty soon it sticks. ~ Betty White,
1026:In some ways, many of the skills you have as a producer on independent films also apply to making big tentpole films: You surround yourself with a brilliant director, great script and talented people in every department who are smarter than you. ~ David Heyman,
1027:I am not a fan of improvisation, because it bores me. Working off a tight scenario gives you the confidence and ability to - why don't we change this a little bit and bring it back to the script. You always discover things while shooting. ~ Nicolas Winding Refn,
1028:I spend a lot of my time just developing material; or the company does. That material can come from a book, can come from a newspaper, can come from a discussion and sometimes it can come from a script that got passed over and is floating around. ~ Ridley Scott,
1029:Once you've written a good script, it will get made or not get made, according to variables you cannot control, like stars getting interested, and the superstitions in Hollywood rising or falling around what is over and done with versus what's in. ~ Jon Spaihts,
1030:Though people may read more into Ulysses than I ever intended, who is to say that they are wrong: do any of us know what we are creating?Which of us can control our scribblings? They are the script of one's personality like your voice or your walk ~ James Joyce,
1031:What I look for in a script is something that challenges me, something that breaks new ground, something that allows me to flex my director muscle. You have got to think fast in this business, youve got to keep reinventing yourself to stay on top. ~ Michael Bay,
1032:When you're tied to one show, you are very much at the mercy of the writers so you can suddenly get a script where you have a heart attack and die. I've got to be in The Guinness Book of World Records for having the most heart attacks on television. ~ Alan Dale,
1033:"Who among us has not, from time to time or even every day, fallen into a #complex of some kind wherein we serve the script, the directions, the outcomes of our personal and cultural history?" ~ James Hollis, Ph.D., Jungian analyst, Living Between Worlds, p. 76,
1034:History is opaque. You see what comes out, not the script that produces events, [...] The generator of historical events is different from the events themselves, much as the minds of the gods cannot be read just by witnessing their deeds. ~ Nassim Nicholas Taleb,
1035:I am at your service, my lady," I said, standing and releasing her hand. For the first time in my life I understood the true purpose of this sort of formal greeting. It gives you a script to follow when you have absolutely no idea what to say. ~ Patrick Rothfuss,
1036:I learned so much about myself from reading this script and doing this movie [Shelter] because the level of judgment and the lack of humanity I saw in myself was disgusting. I never took into account what a homeless person might have been through. ~ Paul Bettany,
1037:I mark a script like an exam, and I try not to do anything under 50 per cent. Similarly with the part. And also film is a peculiar thing, parts don't necessarily read in script form anything like as well as they can do when it comes to materialising. ~ John Hurt,
1038:I don't intentionally try to find the scripts with unattractive characters, but I think that if a character is described in a script as heart-stoppingly beautiful, and there's nothing else said about her, it just doesn't hold a lot of interest for me. ~ Amy Adams,
1039:If I get a script that's set in the jungle it goes to the bottom of the pile because I don't think the playgrounds are going to be very good there! I'm really aware of how lucky I am but I have the kind of job where I can bring my child to work. ~ Kate Beckinsale,
1040:I wouldn't say I'm a very controlling person. For instance, when I talk to the actors, I don't tell them exactly what I want because I want them to surprise me. I even encourage them to change some of the verses of the script if they need to. ~ Alejandro Amenabar,
1041:I wrote the script of Patton. I had this very bizarre opening where he stands up in front of an American flag and gives this speech. Ultimately, I was fired. When the script was done, they hired another writer and that script was forgotten. ~ Francis Ford Coppola,
1042:My criteria for doing theater has always been slightly different than my criteria with movies, in that there are a lot of reasons to do films, having to do with location, money, and first and foremost having to do with script and role and director. ~ Stephen Lang,
1043:Words define us,' Mom continued, as I struggled to make my clumsy marks look like her elegant script. 'We must protect our knowledge and pass it on whenever we can. If we are ever to become a society again, we must teach others how to remain human. ~ Julie Kagawa,
1044:I always tend to see, right after reading the script, the character and how I want to play it. I guess that's sort of most of the work, preparing for the role, but almost the creation of the character seems to go on as I read through the script. ~ Freddie Highmore,
1045:I was very sad to leave Harry Potter but equally there will be an element of excitement about the idea that a script might come in and I don't have to go: "I'm sorry, I'm kind of busy for the next four years." The idea of that is quite exciting. ~ Daniel Radcliffe,
1046:Nobody ever takes note of [my advice], because it’s not the answer they wanted to hear,” Martin said. “What they want to hear is ‘Here’s how you get an agent, here’s how you write a script,’… but I always say, ‘Be so good they can’t ignore you.’ ” In ~ Cal Newport,
1047:Write your script. When you see things you don't want, don't think about them, write about them, talk about them, push against them, or join groups that focus on the don't wants... remove your attention from don't wants.. and place them on do wants. ~ Rhonda Byrne,
1048:I couldn't say no to jobs and I couldn't say no to drugs. I'd get high from a movie, I'd be somebody else because I didn't particularly like me, so long as I had a script in my hand, I was okay. As soon as the movie was over, I didn't know what to do. ~ Brion James,
1049:I'd love to continue to produce movies. My number one passion is acting, but I also think there's something so special in being able to support a script and an idea, and take it all the way through to fruition. I think that process is so rewarding. ~ Roberto Aguire,
1050:I don't think writing stops until the film is out. In the edit, it's another draft. [The script] is the food for set, and then the set is food for the edit, and the edit is food for the screen. It's constant, and this is just the first stage of it. ~ Daniel Kaluuya,
1051:If Shakespeare and Michelangelo were alive today, and if they decided to collaborate on a comic, Shakespeare would write the script and Michelangelo would draw it. How could anybody say that this wouldn't be as worthwhile an artform as anything on earth? ~ Stan Lee,
1052:My manager got the script for Under the Dome, and I read it and just fell in love with the character. I grew up on Stephen King, and I love his whole aesthetic of the classic American story with supernatural events happening, so it just made sense. ~ Alexander Koch,
1053:Once the script is done, I put it aside for a month. I start thinking of all the films that have influenced me, which I have liked for different reasons, and not necessarily the look, but films that have moved me. Some very strange films came to mind. ~ Deepa Mehta,
1054:Well, you're in a theater and it's 24 shots a second, your face, your body, your voice, and it's your craft, the way you earn your living, and it's indelible. It's not like writing a script - I write as well - I can't do another draft, it's done. ~ William Mapother,
1055:You get a script and you love it. You find a director that you trust, and it becomes all about how do I commit to this as fully as possible? And the last thing you can afford to have in your mind is what are other people going to think of this? ~ James Van Der Beek,
1056:Directors are our teachers, and I'm always craving to work with a great director. They're pretty much the first thing that interests me about a project. Let's put it this way: It'll take me a lot longer to read a script if there's no director attached. ~ Naomi Watts,
1057:Kye, Ngbe-gyo, gbe-su. Kye-nb=gbe-ta-wo-nde.”, meaning: Man: To pursue worship, to mature, and become matter without life. Man pursues a cavernous place (i.e. a grave or hole in the ground).

Mandinka script (Clyde Ahmed Winters, Islam in America) ~ Anonymous,
1058:Love is very complex. If a lot of people love each other, the world will be a better place to live. Actually, that's a sentence from my script. Love is also full of electricity - if you do not feel the electricity within your body, then it's not love. ~ Tommy Wiseau,
1059:Path To War was the last thing that John Frankenheimer directed, I think, before he died. I'm a huge U.S. history buff, and I studied the Vietnam era in college, so when I read the script, I was, like, "I really want to be in this thing so badly..." ~ Peter Jacobson,
1060:The script for 'Infamous' was so poised between tragedy and comedy. It's a dream part. One reads those scripts with a sense of melancholia. When you read a script that good I remember thinking, 'Oh, this script is too good. They'll never give it to me.' ~ Toby Jones,
1061:When I do a movie, I have the script. I know how it begins and how it ends. I know what my character does and where he's going. If I have ideas I want to express or changes I want to make, there's one guy: the director. It's different in television. ~ Holt McCallany,
1062:When you hear Treat's [ Williams] doing a movie, or you'd like to work with Treat again, you hope the script is good. And then you find out the script is good. You go and you do it for the fun of it. And you feel like you can be proud of something. ~ George Hamilton,
1063:Working with Danny Thomas was truly an adventure every week. Danny didn't always say the words as they appeared in the script. I learned more by osmosis than by sitting down together. He was a force to be reckoned with: an explorer of television. ~ Angela Cartwright,
1064:My friends, we all improvise together usually. So we write what I think is a good script but always leave a lot of room to find stuff on the day; and we always do find something. That's the advantage to having actors who are, in their own right, writers. ~ Nick Kroll,
1065:It still hurt her to see their poems before her, printed in the curving Yeged-dai script, using Yegedin forms and the images so beloved of the Yegedin: the single pebble, the grasshopper at twilight, the song of a heartbroken lark sitting in a bent tree. ~ Yoon Ha Lee,
1066:When Sônia [Braga] talked about the script in detail, it was as if she had seen the film [Aquarius] last night, even though it hadn't existed yet. It was a completely bulls - t-less reaction, so I knew it had to be her, and she has been great ever since. ~ Sonia Braga,
1067:God, He didn't write the scripts for the puny little players down
here.
We wrote them ourselves-with each day we lived, each word we spoke,
each thought we etched on our brains. And Momma had written her
script, too.
And a sorry one it was. ~ V C Andrews,
1068:I'm attracted to stories that excite my imagination, stories that, as I'm reading the script, I feel it, I can see it, I can hear the characters. I'm attracted to characters that are real, that tap into something inside me that I haven't explored yet. ~ Tatiana Maslany,
1069:In a script, you have to link various episodes together, you have to generate suspense and you have to assemble things - through editing, for example. It's exactly the same in architecture. Architects also put together spatial episodes to make sequences. ~ Rem Koolhaas,
1070:I pictured myself saying in a court of law, "Well, Your Honor, there was
this evil sorcerer's apprentice and a flesh-eating, power-granting demon
he summoned from a primordial dimension . . ."
Even I couldn't see a way to make that script work. ~ Laura Resnick,
1071:I saw a list of words written in the bold, slanted script running along the left-hand margin: breakfast, Italy, dream, beauty, temptation, goal, wish, love, future, laughter, hope, heaven. Next to each word my name had been written in the same bold script. ~ Lisa Mangum,
1072:Poetry is the journal of the sea animal living on land, wanting to fly in the air. Poetry is a search for syllables to shoot at the barriers of the unknown and the unknowable. Poetry is a phantom script telling how rainbows are made and why they go away. ~ Carl Sandburg,
1073:There are three things that are important for a film. Number one is story, number two is story, number three is story. Good actors can save a bad script and make it bearable, but good actors can't make a bad script good - they can just make it bearable. ~ Mark Strickson,
1074:Usually I approach to acting completely blindfolded. I read the script, I connect to the character, and then I try not to think about it too much until I'm there and I'm in wardrobe and I'm with the other actors and we're going through the scene once. ~ Evan Rachel Wood,
1075:But when you're writing a script - for me anyway - you have to sort of create an enforced innocence. You have to divest yourself of worrying about a lot of stuff like what movies are hot, what movies are not hot, what the budget of this movie might be. ~ David Cronenberg,
1076:Robert De Niro taught me how to listen, and how to be part of the conversation. It's not just about reading your lines and saying what's in the script; you have to understand your character, along with the other characters so that you can always respond. ~ Cathy Moriarty,
1077:And so Graham and I finally got down to our first film script, and I can say with complete confidence that we had absolutely no idea what we were doing. Of course, we had no idea we had no idea what we were doing, and that meant our enthusiasm stayed intact. ~ John Cleese,
1078:I hadn't read or heard a lot about [Tom] Wolfe until I read this script, and in that way I think it was really clever to write a piece about him instead of Max Perkins,[Ernest] Hemingway, [John] Fitzgerald, or others that people have strong opinions of already. ~ Jude Law,
1079:I think that you can't make a movie without a script. But you also can't make movies without actors. You also can't make movies without technicians. And there has to be just one person in charge of everybody, and to me that one person is the director. ~ John Frankenheimer,
1080:Many “older” children go through life either secretly or openly hating their parents. They blame them for past abuses, neglect, or favoritism and they center their adult life on that hatred, living out the reactive, justifying script that accompanies it. ~ Stephen R Covey,
1081:When you're working with a script and you have three pages for that day, you have to shoot that. It can become sort of like a prison, because by the time you've shot what you need to shoot, you don't really have time to think or shoot anything else. ~ Michael Winterbottom,
1082:A physical-spiritual concussion, like a jolt of electricity to the heart. It was like something from a rom-com script so cliché-ridden that it gets sent to turnaround (the film industry term for a project that a film studio decides not to develop further). ~ DeVon Franklin,
1083:I almost always do things that I like, in some form or fashion. Every once in awhile that means that I don't think the script is any good and I don't have any trust in the people, but the film is shooting in Sri Lanka, or somewhere like that, so I'm going. ~ Billy Campbell,
1084:I think the script's actually pretty solid. It really is a labor of love for us to get this thing off the ground. It was scary but then there was the change in leadership and I think that the new guy in charge is basically like, "We should just do this." ~ Nicholas Stoller,
1085:I've been pretty lucky - or slothful - in that I've never been a "career builder," I take the jobs that come along that feel right, and that's left me fairly open to all genres, really. But with "Caprica," the complex, dark and very smart script was the draw. ~ Eric Stoltz,
1086:Yeah, well I can't see a situation where I wouldn't at least re-write as a director something I was going to direct. At the moment, I wouldn't direct anything that I hadn't written. I can now say, as everybody else says, that it all depends on the script. ~ William Monahan,
1087:Empathy is a strange and powerful thing. There is no script. There is no right way or wrong way to do it. It’s simply listening, holding space, withholding judgment, emotionally connecting, and communicating that incredibly healing message of “You’re not alone. ~ Bren Brown,
1088:I don't think being a good James Bond girl has to do with nationality. I think it has to do with a specific person at a certain time being right for the specific needs of a given script. It has to do with talent and personality, regardless of nationality. ~ Berenice Marlohe,
1089:I love all the voiceovers I do. I can't remember them all, but I seem to do them all of the time. And there's nothing easier because you just stand and read the script, and you don't have to act the way actors do. You don't have to be made up and put costumes on. ~ Stan Lee,
1090:I never make conscious decisions. If my agent says to me, "It's a good script," I'll do it. I don't plan. I've got a lot of things to do. I'm at the roulette table and my luck seems to be running at the moment. I might as well stay there until it runs out. ~ Anthony Hopkins,
1091:It's easier to direct. If you direct something poorly and re-shoot it the next day, stage it better, make it work better, you have a lot of possibilities. You can edit it in certain ways so that it works, but there's no getting around weaknesses of the script. ~ Woody Allen,
1092:And the inner dynamics of Hollywood are like politics. Say you give a script to a group of executives - they all sit around, afraid to voice an opinion, saying nothing, waiting to know what the consensus is. Just like focus groups, opinion polls or a cabinet. ~ Joe Eszterhas,
1093:As an actor, I know immediately if I'm saying a word that doesn't feel right coming out of my mouth, and I know how to change it. But as a director watching something, or even as a writer reading a script, sometimes it's not always clear what needs to be fixed. ~ Scott Foley,
1094:Empathy is a strange and powerful thing. There is no script. There is no right way or wrong way to do it. It’s simply listening, holding space, withholding judgement, emotionally connecting, and communicating that incredibly healing message of “you’re not alone. ~ Bren Brown,
1095:Improv is not something I had a lot of experience with, because for a long time, my only experience in front of a camera was all television, which is pretty rigid script-wise, except for the occasional scene where you toss in an ad-lib just to elongate something. ~ Gary Cole,
1096:Night to night, doing the clubs is a lot of fun too because you have a lot more freedom and you don't have to worry about swearing or going off the script or going long or going short. If you bomb, only a handful of people see it. On TV, a lot of people see it. ~ Gary Gulman,
1097:Well, what we do is we have a script, of course. But for us, writing is also like storyboarding. It's drawing. And so we will cut all of those drawings together with music, sound effects and dialogue. And we screen this kind of stick-figure version of the film. ~ Pete Docter,
1098:Hollywood is just so strange. It's like, everyone has a whole bunch of stuff boiling away and whichever one happens first, happens. That one, we're still in the process of, you know, trying to write the script. So, it's still very early stages at this point. Yeah. ~ James Wan,
1099:The script of 'Shogun' was so tight that you could not take a word out of a sentence, you could not take a sentence out of a scene, and you certainly couldn't take out a scene without putting ripples right through the back or the front of the overall story. ~ John Rhys Davies,
1100:The script was given to me by one of my agents and they didn't tell me anything about it. My first reaction was, "The West Wing? Is it about a squadron of fighter jets?" Then I turned the page and saw, 'by Aaron Sorkin' and I knew it was going to be something good. ~ Rob Lowe,
1101:Back then, it was more or less we couldn't change a line in our script. We weren't allowed to change lines. Today, actors change everything and won't do parts. It's very different today. Back then, the producers were in charge. Today, actors are more in charge. ~ Donna Douglas,
1102:I have a large personal collection of pictures. For every project, I choose images. Usually I don't do this until I've done an extensive script breakdown and distilled the text down to poetic form. I have to plant enough seeds so that there will be vibration. ~ Christine Jones,
1103:I tend to get comfortable with the dialogue and find out who the person is in the script and try to hit that. People are sort of independent of their occupations and their pastimes. You don't play a politician or a fireman or a cowboy - you just play a person. ~ Billy Campbell,
1104:Those are the rules. To improvise in a movie with other people, when they're following a script, everybody has to know what's going on. I think a line or two we might change. Certainly, I do. But I wouldn't call it improvising. I'd call it fudging the lines. ~ Samuel L Jackson,
1105:When my film went to the Venice Film Festival and won the best script writing, the jury [prize], it didn't go to my head. I know how many black filmmakers that I am operating with whose name will never be mentioned. But I'm part of them in that silent existence. ~ Haile Gerima,
1106:You just knew you were in great hands with somebody so talented, so bright and with such depth. We both [with Ellen Page] loved the script and the book [Into the Forest], which I read after I read the script, and highlighted it and dog-eared it to craziness. ~ Evan Rachel Wood,
1107:Before I read the script [The Following], I saw the schedule, and imagine how confusing that was. I thought it was intriguing. I'm an actress. Even if it's, by proxy, all about me, I'm all for it. It was all about me, but I didn't have to show up, so it was great. ~ Natalie Zea,
1108:Being the offspring of English teachers is a mixed blessing. When the film star says to you, on the air, 'It was a perfect script for she and I,' inside your head you hear, in the sarcastic voice of your late father, 'Perfect for she, eh? And perfect for I, also?' ~ Dick Cavett,
1109:I hate when a director says to me 'Here's how I envision this scene'...excuse me? It's right here in the script - I 'envisioned' it FOR you. Do what I wrote. If you want to 'envision', you should become a writer. Where the fuck were you when the page was blank? ~ Harlan Ellison,
1110:Long ago, I did a five-and-a-half-hour-a-day, six-day-a-week talk show for four years, early on, in Los Angeles - local show. And when you are on that many hours with no script, you know, you get very comfortable, maybe overly comfortable with that small audience. ~ Betty White,
1111:Sometimes I'll read a script and think, "That's not how humans behave," or "I don't understand how to do that and make it seem like I'm not some kind of strange alien or on a sitcom." I don't get it, and when I feel that way, I have to listen to my instinct. ~ Maggie Gyllenhaal,
1112:You usually get a script and you tell people what the story's about, and they have no idea what's going on. Whereas with an adaptation, you come into it, and it seems like everyone you talk to has a million opinions on the cast and the way the story should be told. ~ Emma Stone,
1113:Acting in particular is a fun job when you have a good script. I don't know about acting when you don't have a great script. I'm gonna say that's not a great job, it's kind of a dumb job. But when you have a good part in a good script, it's the best job, in a way. ~ Bob Odenkirk,
1114:A film is a living thing. The screenplay is a guideline. You really need to have a good, sound script to know that you have a dramatic structure that's going to work thematically, and to know how one scene will got through another, and to get a sense of character. ~ Jose Padilha,
1115:And if I do this, day after day my behavior will change. Instead of living out of the scripts given to me by my own parents or by society or by genetics or my environment, I will be living out of the script I have written from my own self-selected value system. ~ Stephen R Covey,
1116:No one ever wants the whole script. I give the whole script to people who require the whole script but to those people who don't require the whole script I don't give it to them and no one cares. They're relieved not to have to read extra pages that they're not in. ~ Woody Allen,
1117:Writing was a gift eagerly accepted by the ancients. Unfortunately, hiding among the neat rows of carefully incised script was an unwelcome demon—misogyny. In trying to understand what went wrong between the sexes, these two cultures are at the pivot of history. ~ Leonard Shlain,
1118:A writer/director is a tough thing to gauge when someone hasn't directed a movie before. You just don't know. Sometimes it will be a great script that's written beautifully, and then the director who has also written it does not have the facility to translate it. ~ Richard Ayoade,
1119:I think that there is a real beauty to the live aspect of the theater, and the working with a director for a month on a script in the isolation of a room and really deeply delving into who are these people, what is the story we're telling, how do we want to tell it? ~ Karen Allen,
1120:It takes so long to write a script, thinking to yourself, "Am I wasting my time? Am I putting everything into this thing that maybe just won't ever exist?" I always think, God, acting is so much easier. At least for acting you have the source material already. ~ Jason Schwartzman,
1121:"Stuffed and Unstrung" started as a workshop, actually, classes within our company. We found that our puppeteers were not ad libbing as well as traditionally, Jim Henson Company puppeteers have. We're sort of famous for going off script a little bit and ad libbing. ~ Brian Henson,
1122:I'm not really comfortable with who I am to be honest. I feel more free to step into the shoes of somebody else. There's always an element of me in there but, you know, if you give me a script and some clothes I can do anything. But, as Ryan, I'm a bit of a recluse. ~ Ryan Kwanten,
1123:My idesl work situation now is if I could script-my-own-life-type thing. I'd love to have a television show on HBO, and then on hiatus, make a movie - just one. And then spend the rest of the time with my family. I wouldn't ask for anything else. That'd be all I need. ~ Rob Riggle,
1124:The structural notions to me always have to be worked out very carefully in the script stage. Whatever a particular structure is. Whether it's chronological or non-chronological. To me that's always about what point of view are we trying to address in the film? ~ Christopher Nolan,
1125:You'd go in, read the script once for timing and then you would sit around and play games. The sound effects people would come in and we would do a dress rehearsal so they could get the effects and the music cues in place. Then you would wait until you went on the air. ~ Dick York,
1126:Human society first formed itself with the aid of oral speech, becoming literate very late in its history, and at first only in certain groups. Homo sapiens has been in existence for between 30,000 and 50,000 years. The earliest script dates from only 6000 years ago. ~ Walter J Ong,
1127:The big lesson of Reagan is: To think that he was some sort of simple figurehead and didn't do the thinking and simply read a script in front of him woefully underestimates him. Ronald Reagan was an extremely intelligent person with a real V8 engine under his hood. ~ Eugene Jarecki,
1128:Few people in one's life ever go quite away. They turn up again like characters in a Simon Raven novel. It is as if Fate is a movie producer who cannot afford to keep introducing new characters into the script but must get as many scenes out of every actor as possible. ~ Stephen Fry,
1129:I can easily say "no" to a project if the script isn't great, but when the script is good, then I start asking the other questions. Who's going to direct it? Who's the creator? Who are the actors? When are we shooting? Where is it shooting? All that kind of stuff. ~ Dominic Monaghan,
1130:I liked it because it was such a dangerous script and showed just what human beings are capable of. Here was a movie in which Morgan Freeman and Brad Pitt, who always win in every movie they ever do, simply don't win. I felt that was outrageous for a commercial movie. ~ Kevin Spacey,
1131:In the end, whether I write the script or, in this case, somebody else did, there's a point where you let it go when you're making a movie. You just have to. The thing that you shoot is not what you imagined in your head - it never is exactly that. And it shouldn't be. ~ Todd Haynes,
1132:It's always about trying to make everything go with the music, like a script. It's not like, 'Let's have a confetti gun!' If I ever have one of those, it will be because it's absolutely the right thing at the moment in the song. I can't just go get a confetti gun. ~ Victoria Legrand,
1133:The reaction I got from Sônia [Braga] in less than 48 hours after I sent her the script [Aquarius] was so genuine that it left me stunned. Often when you show people scripts, you get polite, absent-minded reactions, as well as exclamations of "What the f - k is this?". ~ Sonia Braga,
1134:The truth is, my young lady, that fate has written the script for your destiny on your forehead from the very beginning. We can't see it. But it's there. And the young, who love so passionately, have no idea how ugly this world is....This world is without compassion. ~ Marjan Kamali,
1135:The whole other world that LSD opened your mind to existed only in the moment itself - Now - and any attempt to plan, compose, orchestrate, write a script, only locked you out the moment, back to the world of conditioning and training where the brain was a reducing valve ~ Tom Wolfe,
1136:I've always been in school plays and performing monologues and taking drama. Now I'm in acting clas-ses. I do it the real way. I want to be a working actor. I would love that. I just like being on a series and having a script, and I want that to be my nine-to-five. ~ Vinny Guadagnino,
1137:I write the script; nobody sees it, not the people that put the money in the picture. I cast who I want, and make the film. That's why I've always felt the only thing standing between me and greatness, is me. There's no excuse for me not to be great except that I'm not. ~ Woody Allen,
1138:There was a certain moment. I was about 61 - two, three or four, and I got a script. And I sent it back to the producer saying - "I don't wanna do it. The part's too small." And he sent it back to me, he said, "You shouldn't read the lover. You should read the father. ~ Michael Caine,
1139:When Kirk dies it was very emotional and very strange, in the moment and all the way through the process. I'd read it in the script and I'd always be struck by what I'd just done and what we were doing, and that this was my childhood hero and I was writing his death. ~ Ronald D Moore,
1140:As he always did before retiring, so tonight he pulled out a drawer of his night table and took from it a small black ledger in which he wrote down the day's expenditures in a script so small that he could have written the Lord's Prayer on the heads of pins with it. ~ Ludwig Bemelmans,
1141:I was sent this thing called 10 Things I Hate About You, which I thought was really sweet and female-centric and kind of cute and smart, with a really smart script. So I auditioned for it and got it, and I'm really glad I did, because the movie has a life of its own. ~ David Krumholtz,
1142:Most actors really love it, that's what they want to do. They burn to do it. And so they'll read a script and think, that's an interesting part. And because they love acting, that blinds them to the fact that the rest of it is pretentious nonsense, which it very often is. ~ Hugh Grant,
1143:The strength of the script, for me, was that you're really left, right till the end, to know what's happening. This seemingly perfect, happy, kooky real relationship slowly turns into something horrifying, but you get there through a filter of reality with all of it. ~ Harry Treadaway,
1144:We stayed very close to each other [with Leek Kirk], and Lee was amazing. We'd go through the script together, rehearsing it before every shot with the other actors. He was just easy to work with. We were able to put it in my language, which was really important. ~ Billie Joe Armstrong,
1145:When Reva gave advice, it sounded as though she were reading a bad made-for-TV movie script. "A walk around the block could do wonders for your mood," she said. "Aren't you hungry?"

"I'm not in the mood for food," I said. "And I don't feel like going anywhere. ~ Ottessa Moshfegh,
1146:Empathy means realizing no trauma has discrete edges. Trauma bleeds. out of wounds and across boundaries. Sadness becomes seizure. Empathy demands another kind of porousness in response. My Stephanie script is twelve pages long. I think mainly about what it doesn't say. ~ Leslie Jamison,
1147:I love making the backstory for myself. I think it's important. Every part I play, I work on the backstory. If it's fully written out in the script, or there are intimations of it in the script, fine. If not, fine, no problem. I'll fill it in, or I'll create what it is. ~ Jeffrey DeMunn,
1148:You are about to start the greatest improvisation of all. With no script. No idea what's going to happen, often with people and places you have never seen before. And you are not in control. So say 'yes.' And if you're lucky, you'll find people who will say 'yes' back. ~ Stephen Colbert,
1149:A different script calls for different things. It always takes me a long time to get to know the part, and know the logic behind the words. I have to be with the script for quite a long time before things start to fall into place, before they become part of the character. ~ Sally Hawkins,
1150:In the university prospectus, an italic script over a picture of the Firth of Forth: Philosophy is learning how to die. Philosophy is listening to warbling posh boys, it is being more bored than you have ever been in your life, more bored than you thought it possible to be. ~ Zadie Smith,
1151:I worked in script development, many years ago, and read a lot of scripts. Between that and the scripts I've read as an actor, and I'm a writer as well, I think I have a pretty good sense about whether the bones of a story are there and whether the structure is intact. ~ William Mapother,
1152:Harry [ Hannigan] and Chris [Ellis] are sitting there while we're doing [ Fresh Hell], and Chris is directing, obviously, but if we start fooling around a little bit, Harry comes in, and he's got some addition that makes it even funnier. But we start with a complete script. ~ Brent Spiner,
1153:I came across the script [42], and I read it, and I said, "I really want to do this." And when I had my agent call, they said, ah, you know, it's not what they're looking for. So, OK. And then I let it go for a while, and then it just kept gnawing at me, so I kept pushing. ~ Harrison Ford,
1154:When I worked with Woody Allen, I only got the parts of the script that I was in. I was able to piece together the narrative from that, but I remember being quite excited to watch the movie - the movie that I was in but didn't know what happened in, like, 65 percent of. ~ Chiwetel Ejiofor,
1155:Working with an incredibly strong script is the thing that gives you the most confidence. If you go into an episode knowing the script is strong, I just feel like that's where it all starts. All collaborations that happen, in addition to that, are just bonuses, at that point. ~ Ty Burrell,
1156:At times doc filmmaking feels more rewarding creatively. Because you are creating something out of pure cinema - instead of narrative cinema, where you've got a script and a cast and you build from your foundation, whereas in documentary, you're building out of chaos. ~ George Hickenlooper,
1157:In film you have the script months ahead of time often, for a good film, but in television it seems like you might not get the script until a week or two weeks before you've got to film it. It's a little weird, but also quite challenging. It reminds me of repertory theatre. ~ Wesley Snipes,
1158:On movies, I like to involve the cast in the writing of the script. I like to have a rehearsal period, after which I do the last draft, which gives me a chance to incorporate anything the actors have come up with during the rehearsal period, so I'm very inclusive as a writer. ~ John Cleese,
1159:The Italian historian Armando Petrucci has done more than anyone else to revive interest in public writing. His groundbreaking Public Lettering: Script, Power, and Culture surveys the forms and uses of epigraphic writing from classical antiquity to the twentieth century. ~ Geoffrey Nunberg,
1160:What's fun about the story development at Pixar is it's a journey. You don't just write a script and then that's the movie you make. It's just constant evolution and being open to that and that collaboration with the voice actors and with the artists and animators at Pixar. ~ John Lasseter,
1161:First, you do a piece of material that begins and ends and has a flow; it's not chopped up as in a film, where in an extreme case you might be doing the last scene of the script the first day that you go to work, and you don't know enough about the character you're playing. ~ Jean Stapleton,
1162:I'm a character and relationship guy, and even with the 'Saw' films, it's special-effects people's jobs to create these scary things. It's not my job. My job is to bring some sense of humanity to the character, no matter how evil he may be. The script is going to take me there. ~ Tobin Bell,
1163:It's an ongoing process, in the script, on the set and in the editing room, to make sure you are being true to the emotion of the film without turning it into a melodrama, and making sure you're getting all the laughs you can without it turning into just some stupid comedy. ~ Jon Turteltaub,
1164:Why not provoke some thought and get people talking about things? I like characters that are flawed because we all are. When people break up in a script, you think, Oh, right, there must be tears shed here. But maybe the fact of the matter is that they're both laughing. ~ Michael Fassbender,
1165:You're responsible for your own character to a degree, because when it comes to the final draft of the script, you might say, "Well, I think maybe I could add this here, add that there." But I find that I write just as well for the other characters as I do for myself. I think. ~ Charlie Day,
1166:its like you said? i lead my people-"
forth!" zifnab carried on enthusiastically! " out of eygpt! out of bondage! across the desert! pillar of fire-"
desert?" lenthan looked anxious again. "fire? i thought we were going to the stars!"
sorry. wrong script" zifnab said ~ Margaret Weis,
1167:I use improvisation as a writing tool to help produce material that goes into a script, but a well-crafted script shouldn't sound scripted, and oftentimes people confuse something that looks like improvisation for what is actually a very well-written script that is well-acted. ~ Steve Coogan,
1168:I remember when we did our first read-through, Sonny [Bono] looks at the script and he goes, "Okay, I'll see you guys later. Chai-ay-oh!" And I said, "It's ciao! Aren't you Italian? C-i-a-o doesn't spell 'chai-ay-oh.'" Sonny's dead, so he won't be embarrassed if I tell that story. ~ Teri Garr,
1169:I need to react to a script, to feel strongly about it in some way. And I need it to be a complex character for sure. And also, I think a lot about what kind of audience there is for the film, what they're looking for and ways to connect with them in the playing of a character. ~ Jeremy Renner,
1170:Nobody taught Picasso how to paint - he learned for himself. And nobody can teach you to be a producer. You can learn the mechanics, but you can't learn what's right about a script or a director or an actor. That comes from instinct and intuition. It comes from inside you. ~ Dino De Laurentiis,
1171:The first script was one of six original stories I had written in the form of two trilogies. After the success of Star Wars, I added another trilogy. So now there are nine stories. The original two trilogies were conceived of as six films of which the first film was number four. ~ George Lucas,
1172:I like both music and acting, and they both have a lot in common - timing, immediacy, stuff like that. But acting is more regimented. You wait around for hours, you don't get to write the script, you get hired. Music represents me better. I'm not acting; I'm just expressing myself. ~ Lukas Haas,
1173:I'm probably one of the worst actors as far as preparation goes, because I actually don't prepare. I find it easier to read the script and whatever hits me in my stomach, like deep down, I just go with it. And the director kind of molds me whether to go right or left with it. ~ Jaimie Alexander,
1174:It's hard to hand a script to a director, there's no question about it. You've lived with these characters, you've started with a blank page, especially when it's an original work and something not based on a preexisting piece of material. But if you don't like it, write a novel. ~ Victor Levin,
1175:Why is it that men reduce themselves to one-liners and bad movie quotes whenever they get into a fight?" said Parker. "Is there some kind of script they're supposed to follow when they get to this point? Or does the raging testosterone just shut down their higher brain functions? ~ Matt Forbeck,
1176:If you just read Joseph Campbell, who has written amazing books on mythology and religion, they all do come together at some point. There are some of the greatest stories that there have ever been in the Bible. All you have to do is read the book of Maccabi, it's like a film script. ~ Mel Gibson,
1177:When I'd read the script [The Man], [ Eugene Levy] that's who I'd seen in my mind. When I ran into him, I said to him, 'I read the script. You'd be great.' He had no idea what I was talking about. Then, we saw each other again in London. He'd read it and was enthused about it. ~ Samuel L Jackson,
1178:Honestly, I love movies so much that I don't really have a favorite type. It's all script-related. Whatever genre it is, if it's cinematic at all or has a tone and a feel that I think is gonna be exciting to put up on screen, then I'm there and I'll put everything I have into it. ~ Scott Speedman,
1179:Improvisation comedy is a wonderful example of the kind of thinking that Blink is about. It involves make very sophisticated decisions on the spur of the moment without the benefit of any kind of script or plot. That's what makes it so compelling and — to be frank — terrifying. ~ Malcolm Gladwell,
1180:I've been a film geek since I was a little kid and to start with an idea and then get a stack of papers with words on it called a script, then storyboarding the art, and you sit with these guys and now all the sudden it's a movie, and to see fans reactions to it when you put it out. ~ Thomas Tull,
1181:I was a novelist first. But in the mid 80s, I did work in television for ten years. And yes, that was frequently the reaction to my scripts. People would say, you know, George, this is great. We love it, a terrific script, but it would cost five times our budget to shoot this. ~ George R R Martin,
1182:An invented script will have invented ligatures. When that happens, most word processors are just done. They can’t even. Just no. It’s as if they have some problem with us humans using a tool for its unintended purpose! (And eighties folk thought computers would take over . . .) ~ David J Peterson,
1183:As a director, I have to feel realism from actors, and they can't be plastic. The words for me are secondary, but the chemistry between the actors is most important. However, you have to go by the script because it's related to production, otherwise you will not finish your project. ~ Tommy Wiseau,
1184:Film and television are just different. Film is cool because its a complete package. You know the beginning, middle, and end. You can plan it out more, which I like. But with television you get a new script every week, so its constantly a mystery as to what youre going to be doing. ~ Austin Butler,
1185:I was one of the first to read the 'ER' script and the good news is George Clooney still gives me credit for helping to launch his career. I had George Clooney under contract for four years in a row before 'ER' happened. He's one of the few who remembers the people who helped him. ~ Leslie Moonves,
1186:What I think after reading the script and seeing where the story goes, I go with my instincts on the character. If my instincts are wrong the director and the producers will guide me in the right direction. That's just kind of how I take on any role, be it a fantasy movie or not. ~ Josh Hutcherson,
1187:You do a movie [where] you like the script [and] it has something to say that you care about. And there are certain people in this industry that you kind of stick with. Guys like [“The Congressman” producer] Fred Roos. They call you, and if you’re not working, that’s what you do. ~ George Hamilton,
1188:I'd always wanted to be an action heroine. That's a chick dream, getting to wear a leather bodysuit and be blonde and kick ass. But, what really attracted me to 'Dredd' was the script. It was fantastic! It was about people and characters, and not just about explosions and fighting. ~ Olivia Thirlby,
1189:I saw a lot of that. It made me uncomfortable. He's been studying me. We don't just sit down and talk, he's actually studying me. It makes me a little uncomfortable being under that microscope. But I think Eric [Bana] immured himself wight he script and is doing what he needed to do ~ Ralph Sarchie,
1190:It rarely happens that I get to work again with the same director. I had such a wonderful time on Antichrist with Lars von Trier, that I was going to do whatever he proposed me to do. When he sent me the script of Christmas, I just loved it. I think I love anything he writes. ~ Charlotte Gainsbourg,
1191:What the fuck are you talking about?” I asked, wondering if I was in some crazy surrealist movie, wandering from telepathic sheriffs to homosexual assassins, to nympho lady Masons, to psychotic pirates, according to a script written in advance by two acid-heads and a Martian humorist. ~ Robert Shea,
1192:When I got the script for Thelma & Louise, when I met with the director, Ridley Scott, I said, "I don't want to do a revenge film. I'm not interested in doing that moment in the script after they shoot the truck, where it says they jump up and down and they're real happy about it". ~ Susan Sarandon,
1193:I am a professional actor and I don't go about moralizing about what the character does. Otherwise, seriously, why be an actor? You're not making some kind of social statement. That's not what actors do. They may inadvertently do it, but it's because of the script, not the acting. ~ Malcolm McDowell,
1194:I'm getting more selective, the more I do. As an actor, you want to do a variety of things, but first and foremost, it's the script, the quality of the script and the part. If the script is great and it's a part that I believe and I believe the world, that's rarer than you think. ~ Holliday Grainger,
1195:I remember that when I got to NYU, everyone was writing scripts. But I was 18 at the time, and when you write a script, so much of it is about what you pull from life, and this sounds sort of cheesy, but I felt like I didn't have enough life experience at that point to write a movie. ~ Todd Phillips,
1196:I usually write very few stage directions. I think a lot of that is a waste of time. The art of screenwriting is in its terseness, saying a lot with a little. I have no patience when I read a script where the writer describes this guy and what he's wearing and his glasses and his hair. ~ Scott Frank,
1197:They didn't send me the script for Scary Movie 4 because the script was very secretive. So I never did get one actually. But it is David Zucker and there is complete trust. So I read my scenes and I thought they were really funny. I thought it would be a riot to play the blind girl. ~ Carmen Electra,
1198:Well you know, the comic strip [Doctor Strange]... yeah, was an Asian man, in fact, a very ancient Tibetan man living on the top of a mountain. The film script that I was given wasn't an Asian man, so I wasn't asked to play an Asian man - I was asked to play an ancient Celtic person. ~ Tilda Swinton,
1199:Very often on some of this stuff when I'd have to go to work. I'd just give the script a cursory glance. I had no training, and I was a quick study, so nobody knew how involved or not involved I was. But I look at that stuff now and I can see I wasn't involved, and I wasn't very good. ~ Jackie Cooper,
1200:If I had a script that I was ready to shoot tomorrow, I'd work on it every day until we got into production as soon as possible, but I don't have that script yet, so I'm trying to find and support writers, really young writers and hopefully come across a story that I wanna tell one day. ~ Logan Lerman,
1201:I just passed on some a script that I was sent, because I said, "I haven't yet played the person staying home, the one that says, 'Good luck, honey,' or whatever." And so that's what I look for. Therefore, by virtue of that exclusion, I'm always trying to find roles that are challenging. ~ Geena Davis,
1202:We should take the sheer improbability of our own existence as a kick in the butt to get out of bed in the morning. If you hear this fact as discouraging—that you’re only one in billions—then flip the script. You are one in billions! Someone has to succeed, so it might as well be you. ~ Sophia Amoruso,
1203:Doing the movies and meeting the people, and I like the stories of the movies. I like names a lot, too. When I do an audition, there is a script and it has a first page that has the names of all the characters. I'm like, “Let me see that real quick, I wanna see what my name is gonna be. ~ Dakota Fanning,
1204:I knew [Jesse Owens'] name, but I really didn't remember what it is he had done, so I felt like I had to get refreshed. So I read the script and I realized like, wow, this is an incredible human being. I told my manager, however I had to do it, let me see the director; I got to play him. ~ Stephan James,
1205:My agent told me they were casting for the voice of Gollum. I hadnt read The Lord of the Rings, but I read the script and realized what an amazing role it was. I developed a voice for the audition tape, then met Peter Jackson and Fran Walsh at the auditions and fell in love with them both. ~ Andy Serkis,
1206:That's the thing about prep, is that it's a joy to have it there and you can spend all this time prepping, but ultimately you have to look at your script and turn up on the day. It's embedded in there somewhere but you have to forget it all and play the scene because we are storytelling. ~ Jenna Coleman,
1207:Well, I mean, the original is certainly the jump-off, it certainly is what it is, you know, I grew up around that era so I watched all those shows. The basic concept is there, it's just a different movie. Totally different actors, different filmmakers, different script, but same concept. ~ Antoine Fuqua,
1208:But the term code-script is, of course, too narrow. The chromosome structures are at the same time instrumental in bringing about the development they foreshadow. They are law-code and executive power – or, to use another simile, they are architect’s plan and builder’s craft – in one. ~ Erwin Schr dinger,
1209:I don't necessarily look for what I respond to in a script. I look for things that scare me, and take that as an indication that I should probably do it. I don't want to be bored. I look for challenges. I look for a variety of different things because it's so easy to go the cliche route. ~ Liana Liberato,
1210:I've got categories of jobs, and one of the categories is 'money jobs.' If one of those comes along and I have to make a living, even if I don't like the script that much, I'll do it and just try to stay above water, which I'm able to do most of the time. I try not to sink with the ship. ~ Dean Stockwell,
1211:languages like Arabic, Russian, Korean, Greek, Thai, and others that use a phonetic script essentially require that you learn only a small set of characters, which represent particular sounds, and doing so will allow you to read that language as you would read any western European language. ~ Benny Lewis,
1212:Wanting to be liked means being a supporting character in your own life, using the cues of the actors around you to determine your next line rather than your own script. It means that your self-worth will always be tied to what someone else thinks about you, forever out of your control. ~ Jessica Valenti,
1213:Obeying the Eternal’s deep command
They have built in the material front of things
This wide world-kindergarten of young souls
Where the infant spirit learns through mind and sense
To read the letters of the cosmic script ~ Sri Aurobindo, Savitri, The Kingdoms and Godheads of the Greater Mind,
1214:When Tim asked me to do Frankenweenie, he had his original sketches from before he did the short, of what Sparky looked like, and he drew Victor and some of the other crucial people. The remarkable thing about working with Tim is that, once he's read a script, he sketches out everybody else. ~ John August,
1215:With every script, I write a note to my collaborator that says: 'I write full script. But see it as a guide. You take us where we need to go any way you see fit. I tried to write something specifically for you. If you agree with my choices, fine. If not, you do what you have to do.' ~ Brian Michael Bendis,
1216:I actually didn't read the book [Fast Food Nation]. I wasn't aware of it. But when I read the script, I thought "Wow." It became a project that was just so exciting to be a part of. Maybe a few times in a career [you] get a chance for a role that really means something, and this was it. ~ Wilmer Valderrama,
1217:I meet Susan [Saradon], and she was amazing. We sit down to go through the script [Thelma & Louise]. I swear, I think it was page one - she says, "So my first line, I don't think we need that line. Or we could put it on page two. Cut this ..." And I was just like ... My jaw was to the ground. ~ Geena Davis,
1218:I've done a number of films. I've been around this. I think the biggest challenge is just getting the script right, the way that you want the script to be. It's really about capturing the complexity of emotions and creating the kind of characters that people will want to watch every week. ~ Nicholas Sparks,
1219:When I first heard about Beverly Hills Chihuahua, I thought, no. This, this is ridiculous. And then you read the script and you close the script and you go, "They aren't going to be able to do that with real dogs. How are they going to do that?" You're going to see the strings. But they did. ~ George Lopez,
1220:In our unidentified society when it was united under the Achaemenian Empire we can trace the process of the peaceful ejection of the elements of culture intruded by Assyrian in the gradual replacement of the Akkadian language and cuneiform script by the Aramaic language and alphabet. ~ Arnold Joseph Toynbee,
1221:I think it's the same thing for a country. We are lucky then that we can get some financing from the government, because it means when I get the money, when I get the grant to do the film, of course it's based on the script, but I have total artistic control and I can do personal stuff. ~ Philippe Falardeau,
1222:When you're in Hollywood and you're a comedian, everybody wants you to do other things. All right, you're a stand-up comedian, can you write us a script? That's not fair. That's like if I worked hard to become a cook, and I'm a really good cook, they'd say, "OK, you're a cook. Can you farm?" ~ Mitch Hedberg,
1223:In Canada, I've had success raising money. I think I was fortunate enough. But today, I would have to write a very, very bad script not to be financed for the next one. I'm assured at least of the next one, but you're always [only] as good as your last film. I think it's true for anyone. ~ Philippe Falardeau,
1224:I remember calling and asking, because I had a few lines that were like, "How could the character have done this?" and I hadn't read the part of the script that said what she [ Cate Blanchett] did, so they put me on the phone with Woody... Allen. I don't know if I could really say "Woody." ~ Alden Ehrenreich,
1225:There's a lot of films that have relatively rigid road maps because they have a script and others that are less rigid because they have less of a script, like 'Elephant.' The road map becomes more interpretive, maybe, than one with a detailed script. Editing-wise, they all have their problems. ~ Gus Van Sant,
1226:All of my films have been very hard to understand at the script stage because they're very different. At the time I did them they were not conventional. The executives could only think in terms of what they'd already seen. It's hard for them to think in terms of what has never been done before. ~ George Lucas,
1227:I have thus decided to make a certain film and now begins the complicated and difficult-to-master work. To transfer rhythms, moods, atmosphere, tensions, sequences, tones and scents into words and sentences in a readable or at least understandable script. This is difficult but not impossible. ~ Ingmar Bergman,
1228:Nunzio snapped his fingers in front of my face. “What the hell is going on? Is it about last night?” My train of thought screeched to a halt. “What? No! Why would I be upset about that?” “Gee, I don’t know. Maybe the part where I ad-libbed the porn script and shoved my dick in your ass?” “Ay ~ Santino Hassell,
1229:Sin and forgiveness and falling and getting back up and losing the pearl of great price in the couch cushions but then finding it again, and again, and again? Those are the stumbling steps to becoming Real, the only script that's really worth following in this world or the one that's coming. ~ Brennan Manning,
1230:There's actually a big difference between story and character. A great story doesn't make a great movie. A great script, which defines its moments and characters can become a great movie. You can make a movie that makes a lot of money and it may or may not have great story or great characters. ~ Kevin Costner,
1231:As agent asked if I wanted to be represented, and I said, "Yeah, sure, I'll give it a shot!" It was never something I had really put that much thought into. But then, Lee Kirk reached out and asked if I was interested, and I read the script of the [Ordinary World] and said, "Absolutely!" ~ Billie Joe Armstrong,
1232:A similar distinction is that between discovered life themes, when a person writes the script for her actions out of personal experience and awareness of choice; and accepted life themes, when a person simply takes on a predetermined role from a script written long ago by others. Both ~ Mihaly Csikszentmihalyi,
1233:Rob Doherty has been a real superstar for us The Mentalist for years. He is an extremely talented writer, and he just tapped into the DNA of this character in a way that we'd not heard before. So, from the moment it walked in the door, and then we read the script, it was a definite player for us. ~ Nina Tassler,
1234:What they told us about 'Star Trek: The Next Generation' when we first started was that we were guaranteed 26 episodes, so that was the longest job I've ever had. And that was basically it - we didn't know what the premise of the show was going to be and we waited, week by week, to see a script. ~ Marina Sirtis,
1235:Straight people don't have to come out, as heterosexuality is assumed. [...] Young straight people are less likely to question the choices that their families and societies are attempting to make for them. [...]A lot of straight people move through life following a script that others wrote for them. ~ Dan Savage,
1236:This is a story of art without markets, drama without a script, narrative without progress. The queer art of failure turns on the impossible, the improbable, the unlikely, and the unremarkable. It quietly loses, and in losing it imagines other goals for life, for love, for art, and for being. ~ J Jack Halberstam,
1237:And one of the funnest things was watching what they did before the director called action and after the director called cut. And they'd keep their hands in the puppets, they'd stay in character, and then they'd start goofing around with each other and be off of script, and it would get quite blue. ~ Brian Henson,
1238:I didn't watch any films. This film, The Proposal, had it all in the script. Once all the pieces, once I met Anne Fletcher and I knew what she wanted and that we wanted the same things, and once they said Ryan Reynolds was on board and once the casting came together, you saw what it wanted to be. ~ Sandra Bullock,
1239:I wrote [Collateral Beauty] on my own. I didn't get paid to write it. I didn't sell it as a pitch. It was an idea I had that I really, really felt needed to be in script form before showing it to anyone in the industry because of the uniqueness of the idea, and the weirdness of the idea, to be frank. ~ Allan Loeb,
1240:We’d talk a little and he’d spot me the fifteen pills to get through the week. As soon as I got my next script, I’d pay him back. Then when Marco was inevitably short himself a week or two later, I’d spot him until his next doctor’s appointment. We never screwed each other over. Pillhead honor code. ~ Cat Marnell,
1241:You might have some level of expectation or hope for the end of the movie, but know that there is nothing you can do to change the characters or to rewrite the script. You may go home pondering the moral of the story or recalling some climactic moment, but you likely will not lose any sleep over them. ~ Anonymous,
1242:Certain movies like 'Wag The Dog,' we used improv on every scene that we did. Pretty much, we would shoot from the script and then some stuff that we came up with in rehearsal, and then we'd have at least one or two takes where we completely went off the script and just flew by the seat of our pants. ~ Denis Leary,
1243:I want to do something where the script is there. That doesn't mean that I won't need to come in, or be asked to come in, and help develop something. Things can always get better. There's always room for improvement. But, I want to do something that's the best version of whatever it's supposed to be. ~ Steve Antin,
1244:After you read the script, then you actually just have to be in the moment you're in, in order to make it believable. You can't give it away. You can't tip it off. For me, it's always about being truthful in the moment I'm in. Hopefully, being able to reveal what I'm feeling, you have to believe it. ~ Victor Garber,
1245:I have a shoebox: for ideas, fragments, snatches of conversation I hear. I scrawl it down, throw the scraps in the box. Every time I start a new script I start picking through the pieces. Suddenly you get five pieces together and think: this is almost the first Act of a movie, if I flesh it out a bit. ~ Shane Black,
1246:It's very intimidating looking at the script and realizing that you have to say medical jargon as if you've said them a million times before, and they're just a part of your vocabulary. But that's what preparing is for, and you can't just really wing it. You've got to really know what you're doing. ~ Odette Annable,
1247:I was supposed to have a script, and had mislaid it. I was supposed to hear cues, and no longer did. I was meant to know the plot, but all I knew was what I saw: flash pictures in variable sequence, images with no 'meaning' beyond their temporary arrangement, not a movie but a cutting-room experience. ~ Joan Didion,
1248:When you make the film, there's a big difference between when you're in your own home at the typewriter, and when you're standing on a mountain, or on a street corner, and buses are coming by-it's a different reality. You make a million changes that were never in the script, but that reality dictates. ~ Woody Allen,
1249:Change of plan–," she called to Jonah. "Can you drop us off in Rome?"
"Yo, am I a movie star or a taxi service?" Jonah grumbled from the depths of the script pile.
"Technically, your neither," Hamilton puffed, lifting weights again. "I mean, you're a star and you've made movies... ~ Gordon Korman,
1250:Honestly, Think Like a Man was the first romantic comedy that I liked. I'd kind of avoided them for awhile because I never felt that any of them were really smart enough. But when I read this script, I genuinely fell in love with the characters, especially my own. So, I just wanted to be a part of it. ~ Michael Ealy,
1251:I end up improvising in almost everything to some degree, 'cause it's often necessary on movies. The script is one thing, and it's this kind of theory of what you're going to do, and then you get there on the day and you realize, "Oh, the script is not appropriate to this room, the door's over here." ~ John C Reilly,
1252:My idea of an actor is to be different persons with different roles. Every time a script interests me, I look for interesting characters because I intend to completely transport myself into it. This happens only because I am a very greedy actor. I am not part of the rat race because I am living a dream. ~ Vidya Balan,
1253:Normally, filmmakers would just write a script and cast people to act as certain characters in the story. But in my way of doing things, I have the actors in my mind already, so I'm trying to borrow something that's unique to them. The characters have a very natural connection to the actors themselves. ~ Wong Kar wai,
1254:To be honest I don't watch the show, I don't watch any TV, so I have no idea what the show is about. I go to Hawaii, shot my scenes and script and 'Ciao.' I'm not a 'Lost' fanatic and it's a disappointment for thousands people and friends that are dying to know what will happen. They know more than me. ~ Sonya Walger,
1255:...we were doing this...this weird circling thing, like we needed to figure out every single line of the script before we could even start the movie. I knew, and he knew, and we didn’t do a damn thing about it... It’s like we thought everything had to be perfect, or it wouldn’t work. Like it was a story. ~ Mira Grant,
1256:When doing a revival, you have a lot of people asking you questions about someone who played it before, and to me that's neither here nor there - it has no bearing on the material that I have to use. The material that is written down in a score and script that the writers originally used is what I use. ~ Kelli O Hara,
1257:Good or bad, the reality is most people become "famous" or get "great jobs" after a very, very long tenure shoveling shit and not because they handed their script to someone on the street. People still think they will be discovered in the malt shop, even though no one can tell you what a malt is anymore. ~ Amy Poehler,
1258:In stand-up you can go either way. It's live. Somebody might say something in the crowd, you might respond to it. But in a movie you could be spontaneous too. But you pretty much have to stick to that story or that scene or that script, but in stand-up you can go wherever you want to. It's more freedom. ~ Chris Tucker,
1259:moving to Santa Barbara, California, where he died suddenly in 2001. After Douglas died, the movie of Hitchhiker moved out of development hell into the clear uplands of production, using much of Douglas’s original script and ideas. Douglas shares the writing credit for the movie with Karey Kirkpatrick. ~ Douglas Adams,
1260:There was no actually stock footage in "Medium Cool." I wrote the script. I wrote the riots. And I integrated the actors in the film in the park during the demonstrations. But nowhere was it like we had stock footage and then later, in editing, integrated it into the film. It was all done at the time. ~ Haskell Wexler,
1261:We shot in a place called Asheville, which is like beautiful, beautiful forests. … And then part of it we shot all the reaping stuff, which was just crazy - because the reaping in the book and in the script is such an emotional thing for everyone. It really did feel like that when we were shooting it. ~ Liam Hemsworth,
1262:If I were doing somebody else's script or I adapted a book by Philip Roth, on set there could be a million different interpretations of the material and people could argue with me. Certainly on Synecdoche, New York we had discussions and arguments, but I felt like I had authority because I'm a writer. ~ Charlie Kaufman,
1263:I love my situation as a spectator. The actors are only a little bit ahead of the audience. The audience discovers the episode when it's screened, but we actors only discover the episode when we get the script, two weeks ahead of shooting. Until then, we know nothing of the evolution of our characters. ~ Richard Sammel,
1264:I've been doing It's Aways Sunny for 12 years, and so I have this cable sensibility. When I read the Grinder script, I was like "this is edgy," which is great, but in a different way from Arrested Development. I feel like the characters are a little more relatable, so maybe that's the difference. ~ Mary Elizabeth Ellis,
1265:For me there's always a line or two in a script, when you hit it you almost decide to do the whole movie off a line or two. You almost do it for the fun of getting to say a line or two like that. I don't have any specific plans, you know. I mean, if Seth Rogen calls with a great buddy pic, I'll be there. ~ Edward Norton,
1266:I tend to be pretty efficient with my time. I work on a novel for four to five hours a day, and then the rest of my day is spent doing other things, whether it's spending time with my family, or going through and making notes on the script, or working on the marketing. It's just a matter of scheduling. ~ Nicholas Sparks,
1267:I think I read films having grown up around the pre-production and post-production aspect of the filmmaking medium, a lot more than most young people who are in acting would have experienced. I do think about scripts in a different way. I can't just read a script as an actor. I don't know how to do that. ~ Alice Englert,
1268:I think probably the best example was the year Jack Palance dropped down and gave us push-ups when he accepted his award for supporting actor. Then we got to throw away a lot of the script because we just did Jack Palance jokes, because it was just too delicious, watching this old man carry on like that. ~ Bruce Vilanch,
1269:Most of the time when I receive a script, it says something like 'Rosenberg is the fat, slovenly Mayor, who doesn't want the kids to use the Skateboard Park,' or 'Stein is a pompous, rotund attorney, imposing to all.' It would be so freeing to get a script where my character is simply described as 'A Man.' ~ Fred Melamed,
1270:The verses talked about other Prophets as brothers preaching the same unifying script of mankind, showing every man and woman the way to Paradise. I saw the names of Jesus, of Moses, of Abraham, of Jacob, of Noah and of course, crucially, the name of this last messenger, the last Messenger of God, Muhammad. ~ Cat Stevens,
1271:We [comics] create our own reality on the show. I'm in a cocoon of the character's creation. Even within that reality, he's in a cocoon. While I'm an improviser and enjoy discovery, the show follows a script. I have a pretty good idea what's going to happen. It's a very ­crafted, controlled environment. ~ Stephen Colbert,
1272:ballpoint pen. She faithfully used the same pen when writing all of her entries in the hope that it would change her luck and she could write something good in her notebook—like today. Mina stared at the words written before her in her sloppy script and felt a pang of guilt. She started to close the notebook ~ Chanda Hahn,
1273:The way it works in commercials is they come to you with the script and then you do the visual, you do the storyboards, and you give your vision of it, but it's very much their baby. You just kind of put your polish and sheen on it, and you're interpretation of it, but it's very much the agency's idea. ~ Paul W S Anderson,
1274:I've done films where you have to get in shape for purely vanity reasons, when you read a script, turn to page 87 and it says: "Rips his shirt off and casually throws it onto chair" - and you're going to go to the gym the next day because nobody wants to see your big fat arse out there taking your shirt off! ~ Bruce Willis,
1275:I went to Art College and during the summer I made a movie with my brother. I got hold of a little camera, wrote a script and dragged my brother, Tony, out of bed to help me (which he did not like), so that we could shoot a film every day for six weeks. It was made for £65 and it was called Boy On A Bicycle. ~ Ridley Scott,
1276:Script is not finished until it's finished. There's many times, partway through a film, when an idea comes, and I say, "How beautiful this is. This thing was not complete and look what's happened, look what's come along." And it just came along at what might be called a strange time rather than a normal time. ~ David Lynch,
1277:Sex in the nineties is boring. The problem is that it has gone from an active act to a spectator sport. We watch people make love on television and in films. We call 900 numbers to hear what someone would do to us if they weren't sitting in a boiler room of other dirty talkers reading from a prepared script. ~ Erma Bombeck,
1278:Writing a screenplay, I'm like, "All I'm responsible for is that final script, and I take great effort and pride in that." But once I give it to someone to make, I can disassociate with it entirely and not worry that my vision isn't being represented, because I understand fully that that's not how it works. ~ Daniel Clowes,
1279:I reject the word 'script' entirely-at any rate in the usual sense. I prefer the old usage-usually scenario-which it had in the Commedia dell'Arte, meaning an outline or scheme: it implies a dynamism, a number of ideas and principles from which one can set out to find the best possible approach to filming. ~ Jacques Rivette,
1280:I tried my hand at writing, I tried to write out a little script - and it's not too bad. Mostly, though, it let me understand how incredibly difficult that job is. I can't even imagine doing it on a weekly basis for a series in any way. That's tough. I think I'll try to leave that to smarter people than me. ~ Nathan Fillion,
1281:Right before Pamela Anderson met Tommy Lee I got this crazy script to do this incredible movie with her where I play this cop with a young partner like Brad Pitt who is in love with Pamela Anderson and he gets killed in the line of duty and she falls in love with me and it gets really crazy. I turned that down. ~ Hulk Hogan,
1282:So, as opposed to getting people in to read the script and read scenes with me, what I wanted to do was sit down and chat to these people and just say, "Okay. Do you share my sense of humor? Do you understand what this film is getting at? Do you know the tone that we're trying to get to?" And it was interesting. ~ Dan Mazer,
1283:I do write. I actually do want to start my music as well. My sister and I are starting a band. I've been playing a guitar for nine years, and she plays piano, and we sing together. We're going to start up something soon. I mostly am writing songs right now actually, but I would love to write a script someday. ~ Kaitlyn Dever,
1284:I felt like the script [of "I Don't Feel at Home in This World Anymore"] was so clear. It was sort of packed full of information. [Macon Blair] puts in a lot of discussion in the script. Characters are introduced very thoughtfully. The way he described walking into particular environments was very specific. ~ Melanie Lynskey,
1285:You never know what you're in for when you take a role. When you're reading the script, you're in some café in New York and you're loving life and it sounds great because it's like reading a book. When you step into that book and you actually have to play it out, for real, it's a totally different ball game. ~ Melissa George,
1286:…and Dave and I, we were doing this…this weird circling thing, like we needed to figure out every single line of the script before we could even start the movie. I knew, and he knew, and we didn’t do a damn thing about it…It’s like we thought everything had to be perfect, or it wouldn’t work. Like it was a story. ~ Mira Grant,
1287:People sometimes talk about me as being a brand, having a strategy and whatever else. I wish. Seriously. I wish I had it together enough to have a strategy. But it's so instinctual. It usually comes down to two things: the person I'm working with - the director is really important to me - and a line in a script. ~ Emma Watson,
1288:With no clear picture of how you wish your life to be, how on earth are you going to live it? What is your Primary Aim? Where is the script to make your dreams come true? what is the first step to take and how do you measure your progress? How far have you gone and how close are you to getting to your goals? ~ Michael E Gerber,
1289:How could you not know?" His voice was full of wonderment. "You changed me utterly. You were like a...like a bright, wonderful bloom in a garden full of weeds. Like a graceful capital on a page of plain script, a letter decorated with the deepest, finest colors in all Erin. Like a flame, Caitrin. Like a song. ~ Juliet Marillier,
1290:I looked at a lot of the comics and I tried to just get an idea from that. Not necessarily specifics of what my look would be or what the plan would be because I knew the script was evolving. I then started the discussion with Ken, who had been in discussion with you guys, intimately. And that they'd pared it down. ~ Colm Feore,
1291:Man has developed consciousness slowly and laboriously, in a process that took untold ages to reach the civilized state (which is arbitrarily dated from the invention of script in about 4000 B. C.). And this evolution is far from complete, for large areas of the human mind are still shrouded in darkness. P. 6 ~ Carl Gustav Jung,
1292:Obviously the highest pressure scene, I guess it might've been a tie - what was the bigger death, Tyrion with Shae, Tyrion wth Twyin, and then Joffrey were all scenes where I wanted to deliver what was in the script married to what fans will be expecting, and it was a lot of pressure and I'm really glad it's over. ~ Alex Graves,
1293:The thing I always guard against when I'm talking to people I'm working with about a script is that there's a thing I don't like and it's called "talk story." It's when you're talking about the story; the characters are tasked with talking about the story instead of allowing the audience to experience the story. ~ Harrison Ford,
1294:When I was writing the script I thought he is this guy. I really hoped...I kept imagining him as that guy. And then he came in to audition and I was really nervous because I really wanted him to do Greek, you know? And he...I didn't know who else I could cast. And he was amazing in the audition. Really funny. ~ Nicholas Stoller,
1295:You have the capacity to change the plot line of your life, even if you've been acting from the same script since before you can remember. No matter what has happened up to this point, you have the right and the capacity to be happy. You are an innately creative being, capable of writing a love story worth living. ~ David Simon,
1296:Any good movie or script usually, if they're doing their job, gives the highest platform possible for an actor to leap off of, and that script was very high up there. It was a very smart, tight script. There was a lot of improv, as well, once we got to the set, but a lot of the original script was also in there. ~ Justin Theroux,
1297:Stick to the script like paper clips and coffee stains, Never let a seed of doubt deter you from your lofty aims, The will is much stronger than the flesh, And it only gets stronger when you going through duress, Imagination is the factory that makes legends... Close Your Eyes and dream B.I.G. like Faith Evans. ~ Jay Electronica,
1298:I'm not a big fan of training, at all. I really don't like it. I've done a few acting classes and I've just hated them. I think they train you to do something, and sometimes you might not be able to break out of it. Acting is lying, and lying is acting. So, I just prefer to read the script and do it my own way. ~ Callan McAuliffe,
1299:In retrospect, I think that I've been given quite a few scripts over the years that had dark elements to them but most of them took place in the countryside with a haunted house. I think I've probably had that script about six to 10 times over the past few years. Or it was something to do with the supernatural. ~ Gillian Anderson,
1300:We see only the script and not the paper on which the script is written. The paper is there, whether the script is on it or not. To those who look upon the script as real, you have to say that it is unreal - an illusion - since it rests upon the paper. The wise person looks upon both paper and script as one. ~ Sri Ramana Maharshi,
1301:What happens in animation is that you don't really start the story until you're boarding it, which usually means that you've gotta go through some sort of a script phase. And you can get caught in the doldrums there, overdeveloping that, when you don't really know what you have until you put it up in storyboards. ~ Doug Sweetland,
1302:When I'm writing a script, before I can write dialogue or anything, I have two or three hundred pages of notes, which takes me a year. So, it's not like "what happens next." I've got things that I'm thinking about but I don't settle on them. And if I try to write dialogue before then, I can't. It's just garbage. ~ Charlie Kaufman,
1303:When The Walking Dead officially got greenlit, Frank Darabont called me up and said, "My passion project just got off the ground. There's a role I think you're perfect for. Would you consider the role of Andrea?" And I was like, "Wow, I'd love to take a look at it." So, I read the pilot script and was knocked out. ~ Laurie Holden,
1304:Every time I read anything, whether it be a book, a script, or anything, I automatically imagine myself as the boy in the plot. I don't know why. Seriously, anything. If I'm reading a magazine article or whatever, I picture myself as the kid people are talking about. It's really weird. I don't know why I do that. ~ Josh Hutcherson,
1305:It's great when improv is encouraged. It's a really fun thing. It depends on who's in the movie and how their process works, as well. It takes a director who is open to that because you have a script, but then something funny could happen on set. So, to have people around you who encourage improv is really exciting. ~ Lily Collins,
1306:Right before I got 'Sons of Anarchy,' I actually quit acting for 18 months and didnt read a single script, and I wrote a film. I felt like I needed to do something that I had control over, as an artist, and also just do something where I felt like I had some control over my life, as just a human, out in the world. ~ Charlie Hunnam,
1307:Because [Donald] Trump sticks to his script and was there to open his golf course, that's what he first began talking about. He didn't open with a statement on the Brexit vote. And so here comes the media - right on cue - and any allies they have, once again lashing out at Trump as incompetent, unaware, insensitive. ~ Rush Limbaugh,
1308:Just play the moment, that's the fun of it. You just play the moment. It's great writing and very clever writing, I think it's witty. And I have those great clothes. You have a great, witty, intelligent script and you look like a million dollars, because we have a great costumer, and it's a pretty good place to begin. ~ Glenn Close,
1309:I think the most important thing for an actor is reading the script and trying to figure out if you can play that character well. The last thing on my mind is if the director made good movies previously. It's not my job to know if that director's last movie was any good - it's my job to know if I can play the role. ~ Jesse Eisenberg,
1310:The play is really a kind of nightmare. It ought to flow rapidly and effortlessly from one moment to another. In London, we had difficulty with the set, which required too much effort to move around. Having gotten the benefit of seeing it done once, I wanted to work on the script, to make it sharper and more pointed. ~ Arthur Miller,
1311:With any mannerisms or dialogue, you have to be careful you're not just serving yourself. What happens with improving is a lot of times, if you're not in the framework of the script, you're just making everything easier so it fits you. It's much more interesting and challenging to go to it, rather than it coming to you. ~ Ray Liotta,
1312:You liked the freshness of it, c'mon try it" and I said "oh God, I read it three of four times" and finally I said "all right, I want you guys to organize a reading and I want you to be there to see how terrible this is not going to work at all", so we had a table like this, and read the script, and it was just great. ~ Jeff Bridges,
1313:Being a director it's mean - digging deep in yourself as well. I think the deeper I understood the material and the script and the themes and the characters, I felt the more confident I was and the more I could bring to the movie. So I was lucky to have my actors because they were right there with me in the deep end. ~ Denise Di Novi,
1314:The story also pointed out that most big cities and towns have chambers of commerce and economic development offices, but what makes Itasca unique, participants say, is a commitment to hard data and McKinsey-style analysis, as well as a willingness to depart from the script that drives many private sector lobbies. ~ Thomas L Friedman,
1315:Sampling is a new way of doing something that’s been with us for a long time […] The mix breaks free from the old associations. New contexts form from old. The script gets flipped. The languages evolve and learn to speak in new forms, new thoughts. The sound of thought becomes legible again at the edge of the new meanings. ~ DJ Spooky,
1316:When I direct my own scripts, it's much easier as it's been in my head for a year already... What I love about this is having an idea and seeing it come to fruition on screen. I would like to direct someone else's script one day, but I might not get round to it before I die - you can't legislate for being hit by a bus! ~ Ricky Gervais,
1317:There was a thing in the Andy Kaufman movie that Jim Carrey [Man On The Moon] about how he would do it. I didn't even see the movie. I read the script. But someone asked me, "Do you know what the best part of the Jim Carrey/Andy Kaufman movie is?" And I said, "me lee see ree bee." I just knew that would be the best part. ~ Neal Brennan,
1318:Eventually, I think I may end up directing. It would have to be the project where I think that I'm the person to direct it, and I don't know that that's happened yet. I certainly haven't written it, and I don't know if I've read that script yet where I was like, "Okay, I think I'm the guy that needs to direct this." ~ James Van Der Beek,
1319:Excellent. I've been told I have a lovely, melodic reading voice." He flipped the book open to the front page, where the title was printed in ornate script. Across from it was a long dedication, the ink faded now and barely legible, though Clary could make out the signature: With hope at last, William Herondale. ~ Cassandra Clare,
1320:I barely read. I'm not a good reader at all. Rather than reading, I used to sit in front of the TV and watch black-and-white cowboy movies. I'm a painfully slow reader. It's really bad as an actor, because you have to read a lot of scripts. It takes me like an average of three hours to read a script, which is pretty poor. ~ Will Poulter,
1321:I personally never thought that 'Dallas' would resurrect itself because I didn't think anybody knew how to do it. And it was proven to me on the few attempts that were made. The movie that was going to be done, I read that script, it was atrocious. It was just awful. And I just didn't think anybody understood it anymore. ~ Patrick Duffy,
1322:I've always played down the drama in my films. In my main scenes, there's never an opportunity for an actor to let go of everything he's got inside. I always try to tone down the acting, because my stories demand it, to the point where I might change a script so that an actor has no opportunity to come out well. ~ Michelangelo Antonioni,
1323:When I want to tackle a story or a subject, I always ask myself three questions: Is it important to talk about that? Will it interest other people than just me? Can I live with that for three or four years because that's how long it takes to do the project, to write the script, and to direct it, and then to do this. ~ Philippe Falardeau,
1324:Gradle distinguishes two types of plugins: script plugins and object plugins. A script plugin is nothing more than a regular Gradle build script that can be imported into other build scripts. With script plugins, you can do everything you’ve learned so far. Object plugins need to implement the interface org.gradle.api.Plugin. ~ Anonymous,
1325:I don't remember what script it was, but at the Monday table read, the [opening] teaser didn't work.We went back and had to think of a new teaser, and [after] four hours, five hours, we weren't landing on anything.And it was probably Glen [Charles] who said, "What are we, cowards?" You had to do it, no matter how long it took. ~ David Lee,
1326:Often when you get a really good script, and you receive the new pages, you see that the entire thing has been dumbed down. Films in the '30s and '40s, that were huge blockbusters, were very sophisticated in their language, and the ideas they brought. There were no questions about whether the audience would get it or not. ~ Connie Nielsen,
1327:The minute I know it's real to the minute we start shooting, I will work on the script, breaking it down and working on the character, doing as much research as I possibly can to the point where I feel like I eat, sleep and breathe it without looking at a page. Then I go in and try to forget all of it and just be there. ~ Hailee Steinfeld,
1328:Instead of being insecure and jealous and suspicious and wonder if every guy is going to cheat on me, I decided to say, "Nope. This will be totally enough for somebody one day." That was a real script flip and it changed the rest of my life in such a positive way. So I feel like I want to teach stuff like that to my girls. ~ Drew Barrymore,
1329:It's usually very, very hard for me to pick up a script that was written and try and see myself as a part of that, especially when you're used to performing all your own material. It's OK with drama, I like being handed great material but I think with comedy it's far more personal and probably a lot harder for me to find a fit. ~ Eric Bana,
1330:It's not like I prepare anymore, or have to think about my son being dead to get emotional. If you're working with a good actor and you're reacting off of them and you have a good script, it just comes organically. It's just stored in your body. So that emotion will just be brought out of you, as opposed to trying to force it. ~ Maria Bello,
1331:A film can be big or small - I have to just fall in love with it. To connect with the character, the script, and the director. Sometimes they say to you, 'You should do that for your career; it's a big thing, people will go and see it,' but I wouldn't be able to, because my heart wouldn't be in it. I would drive people quite mad. ~ Eva Green,
1332:If the script's good, everything you need is in there. I just try and feel it, and do it honestly. I also don't learn things for auditions, because I feel like it's just a test of memorizing rather than being real. Maybe every other actor would think that was terrible, I don't know. But it seems to have worked for me, so far. ~ Olivia Colman,
1333:I kind of went into soap opera with 'General Hospital' in the '80s. It's like theater because every day it's a new script, which really doesn't have a beginning, middle or end like a play or a movie script. So you have to be on your toes and bring it every day. And you have to be spontaneous, which is really how I like to work. ~ Jack Wagner,
1334:I structure the scripts and work on them on films and work on scenes with writers and but I haven't written a script myself, I really respect what they do and I'm fortunate I get to work with people that I really enjoy working with and we all kind of spitball and work together on these things, but I haven't written a script yet. ~ Tom Cruise,
1335:As we were negotiating, I didn't have a script. Once the deal is closed, they let you read the script. So, I got the script and was reading it like, "Oh, please be good!," because I'd already signed on the dotted line. And I read it and just went, "Okay, I'm going to be okay. Thank god!" It was a really funny, moving story. ~ James Badge Dale,
1336:Because I am self-aware, because I have imagination and conscience, I can examine my deepest values. I can realize that the script I’m living is not in harmony with those values, that my life is not the product of my own proactive design, but the result of the first creation I have deferred to circumstances and other people. ~ Stephen R Covey,
1337:It won't be that expensive, the script is fun, the guys just love this thing, and with all of that, the world is just ready for the Muppets again. It's strange that there hasn't been one for so long. I think there were a lot of political reasons for why that was the case but it's just exciting that now it's going to happen. ~ Nicholas Stoller,
1338:My writing's like a journey. I'll know some of the stops ahead of time, and I'll make some of those stops and some of them I won't. Some will be a moot point by the time I get there. You know every script will have four to six basic scenes that you're going to do. It's all the scenes where your characters really come from. ~ Quentin Tarantino,
1339:Some actors come to casting and ask me, "Didn't you see my previous roles?" We do not work with actors like this. Their previous roles do not matter; I need the actual work with an actor in this particular character that has been written in our script. What matters is flexibility, believability and efficiency of an actor. ~ Andrey Zvyagintsev,
1340:The woman who wrote the movie [Ladies And Gentlemen, The Fabulous Stains], her name is Nancy Dowd. She's a wonderful writer. She wrote Coming Home. And when I read the script, at that time, I thought, "This movie is going to do for girls what Breaking Away did for boys." I thought it was going to be huge. It was a great script. ~ Brent Spiner,
1341:So Disney has their full support behind it, which is great, but again it's got to be the right story. It's got to be a script that's up to snuff and worth going back for. The idea's there, the ambition's there, the excitement's there; but we need to have all the pieces in place before they would ever pull the trigger on that. ~ Joseph Kosinski,
1342:While you're making the film and working with the actors, if you want to have a little room to breathe and experiment and play, it grows, and you want that to happen. It's not enough to just shoot the script. You've gotta come up with new inspiration, as you shoot it. There's gotta be room for that and time for that, so it grows. ~ David Twohy,
1343:If your software is built using the GNU autoconf system, pkg-config provides a simple macro you can use for finding the required flags for your build in the configure.ac script. You can also specify minimum required versions of a given library, as shown in this example: PKG CHECK MODULES(XCBLIBS, [xcb >= 1.6] xcb-icccm xcb-shape) ~ Anonymous,
1344:I'm not going to tell you the movies, but I remember getting halfway through the thing and everything sort of tunnel-visioned on me and I couldn't read the script anymore. I looked at the people and I just turned and ran out in a cold sweat. It took me about a year to study it and feel comfortable going in and reading for people. ~ John Corbett,
1345:Since I worked with Danny Boyle before on Slumdog Millionaire, we have great success and everything. So, when I first got the script and the screenplay of Simon (Beaufoy) and I was reading it, even before the shoot, some kind of sounds came into my mind and I put some stuff [down] and sent it to Danny when he was cutting the movie. ~ A R Rahman,
1346:The great thing I think when you do independents is that people are really there for the same reason. They're not there because they got a lot of money and they want to just go home and get it over with. They're there because they believe in the script or the director or the cast or whatever it is, and they want to make it work. ~ Famke Janssen,
1347:It [moviemaking] is not really done on a yearly basis. It's about how the material, and when the material comes in. If you develop your material and the script comes in great and you can attach a director and a cast and go off and make it, then I could make, I don't know, six [movies] a year. Or I could make one. It really depends. ~ Graham King,
1348:The ideal time for writing a [television] script is four days, though sometimes it has to be two or three days depending on the deadline. If it's two days, sometimes there are things I see that don't work as well. If I have two weeks, the scripts get kind of flabby and lack the adrenaline that a sense of deadline fills you with. ~ David E Kelley,
1349:You want to favor systems that benefit from error, disorder, variability and things like that. You want to favor these systems and unfortunately, when - there's something I call the Soviet Illusion. The more the government becomes intrusive, the more things have to follow a script, and it can't handle this kind of system. ~ Nassim Nicholas Taleb,
1350:A. W. Tozer said, “To the child of God, there is no such thing as an accident. He travels an appointed way. . . . Accidents may indeed appear to befall him and misfortune stalk his way; but these evils will be so in appearance only and will seem evils only because we cannot read the secret script of God’s hidden providence.”4 This ~ Robert Morgan,
1351:I do remember when I first read the script of the 92 In The Shade. I was in the house at Nicholas Beach, and that gang was starting to break up, and I read this terribly well-written dialogue, not figuring out that films are about structure and the thing was totally unstructured, and I thought, "Who is this writer? God, he's great." ~ Margot Kidder,
1352:I think that a lot of the time I don't go for something in particular. I see what comes to me, I filter it out. I never really strive to play a particular character or do a particular genre of film. As long as it's a good script and a great range of people and my character is really interesting I can't see any reason not to do it. ~ Asa Butterfield,
1353:The only thing that I always do - is once I've taken on a job, even just to do one scene in a movie, I ask myself, "What's happened the moment the kid was born, until page one of the script?" To answer that simple question, I have an infinite amount of work to do. And I enjoy that part as much as I enjoy any part of making movies. ~ Viggo Mortensen,
1354:The other person at the Frost Report table to whom I was drawn was one Marty Feldman. I hasten to add that my interest in him was platonic: in fact when I first met him, I was rather shocked by his physical appearance. Dressed only in black, heavily suntanned and very fit, he looked like an Armani gargoyle. This was the script editor? ~ John Cleese,
1355:I do enjoy that folks [ Howard Ashman, Tim Rice and Chad Beguelin] really get into [ Aladdin ] because I enjoy getting it. I love it where you just get to go nuts. Ninety percent of what you hear, he wrote. There's ten percent that he let me play around with in the studio and actually put in the script if it was funny enough. ~ James Monroe Iglehart,
1356:I got to play a funny part [in the The Master Of Disguise]. There was one thing my character did that involved flatulence and laughing at the same time - that was in the script - and that was basically what sold me on it. I really thought, "This can't help but be funny." And when I saw the film, I was proud that I'd had those moments. ~ Brent Spiner,
1357:I watched a lot of movies from all over the world. The Russians were very good at editing. They were specialists in editing. The Man with a Camera, if you know that movie, is incredible. I still don't understand how it works. It's a movie with no script, no actors and still it works. It's really good. It's really about editing. ~ Michel Hazanavicius,
1358:When you really want a role and you really want a character, you become quite close to the script and the project, and it is sad when it doesn't go your way. But I've found there's always another one, which will be as good if not better. You can't let your failures bring you down when you're an actor, because then you can't get up. ~ Asa Butterfield,
1359:When you're dealing with TV and with movies, people dont take it as serious as they do with music. If a rapper does a song about shooting people on the block, and goes into a restaurant or grocery store, people grab their purses because they're afraid the person is violent. With TV and movies, people know it's okay, it's just a script. ~ Suge Knight,
1360:I don't think that any scene [in Pineapple Express] is word for word how you'd find it in the script. Some of it was much more loose than others. The last scene with me, Danny [McBride] and James [Franko] in the diner - there was never even a script for that scene. Usually we write something, but for that scene we literally wrote nothing. ~ Seth Rogen,
1361:What was most important in Epicurus’ philosophy of nature was the overall conviction that our life on this earth comes with no strings attached; that there is no Maker whose puppets we are; that there is no script for us to follow and be constrained by; that it is up to us to discover the real constraints which our own nature imposes on us. ~ Epicurus,
1362:Hitler had been in power for six months. Duck Soup, said Harpo, was his most difficult movie, and the only one in which he worried about his performance. Not because of the director or the script. “The trouble was Adolph Hitler.” American radio was broadcasting Hitler’s speeches, and “twice we suspended shooting to listen to him scream. ~ Roy Blount Jr,
1363:I read the script [of Dirk Gently's Holistic Detective Agency] and went, "I haven't read anything this good, in a long time." I thought it was absolutely brilliant. The dialogue is so sparkling, smart and witty. You also have these insane, crazy characters, like energy sucking vampires and holistic assassins. It's all completely weird. ~ Samuel Barnett,
1364:On 'Lab Rats,' I read the script probably three or four times before we ever even do a table read because I want to be completely prepared. And I want to know exactly which beats I have to hit and where I need to make something comical. Some lines need a little more than others do just to get the point across, to get the joke to be funny. ~ Billy Unger,
1365:your life-and everyone else in the Universe is playing the part that you have assigned to them. You can literally script any life that you desire, and the Universe will deliver to you the people, places, and events just as you decide them to be. For you are the creator of your own experience-you have only to decide it and allow it to be. ~ Esther Hicks,
1366:The idea itself, the notion of what the next Tron could be, is exciting enough that it would be worth going back to do it. Obviously we hinted some things at the end of Legacy, it's kind of there for people to see what that potential is. So we just want to make sure that we have a script that delivers on that promise on an epic scale." ~ Joseph Kosinski,
1367:I always knew that someone was going to come at me with a script to play God. It's just one of those things, the way your career is unfolding and all the talk about gravitas etc etc, so I had a strong feeling that someone was going to offer me the part of God. I was totally prepared to say, 'Thanks but no thanks,' unless it was a comedy. ~ Morgan Freeman,
1368:["Where the Buffalo Roam" is] horrible pile of crap. [Bill] Murray did a good job. But it was a bad script. You can't beat a bad script. It was just a horrible movie. A cartoon. But Bill Murray did a good job. We actually wrote and shot several different endings and beginnings and they all got cut out in the end. It was disappointing. ~ Hunter S Thompson,
1369:As a writer myself, my job has very often been to also write on the job. So you get the script and a vague idea of how the scene might work, and you then add funny words or change the script. I'm not the world's best writer or the world's best actor, but I can do that thing where I can fix - or ruin - fix-slash-ruin, add quirk, add value. ~ Sally Phillips,
1370:I'll only work on TV shows that have a 'Sookie' on them! Those are the only shows that will cast me. And I've never even met a Sookie in my life. Sookie on 'Gilmore Girls' was played by Melissa McCarthy. And Sookie, played by Anna Paquin, is number one on the call sheet on 'True Blood.' Somebody should write another script with a Sookie in it. ~ Todd Lowe,
1371:Nothing affects my acting. Acting is something I do with my soul so it embodies a lot of things. For me, I don't know about anyone else, acting is spiritual, so if I do not embody a character or a story or a script, it's going to be extremely difficult for me to be convincing and I don't like that because I am somewhat of a perfectionist ~ Genevieve Nnaji,
1372:There have been times when I've been asked to do things and I've thought, "This is great! This is a great script. But, I do not believe myself in this role." I pretend I'm the producer and I think, "If I was making this movie, would I cast myself in this part?," and if that doesn't feel right to me, then I don't even go audition for it. ~ Billy Campbell,
1373:Well,the fun part of being a writer is that it's like making a wonderful film, with no limit on my budget. I can design the sets, the costume, the lightings, I write the script, and then I get to perform all the roles as I step into each character's skin, zip up, and adopt that point of view. So, to me, they are all compelling and fascinating. ~ Robin Hobb,
1374:As she lifted the glittering strand of diamonds from the box, a small slip of paper fell out. She caught it as it wafted toward the floor. Four words in ancient script, an arrogantly slanted scrawl.
Accept these, accept me.
Well, she thought, blinking, that was
certainly direct and to the point.

-Adam's note to Gabrielle ~ Karen Marie Moning,
1375:I don't have any one way to tell a story. I don't have any rule book of how it's supposed to be done. But I've always said that if a story would be more emotionally involving told, beginning, middle, and end, I'll tell it that way. I won't jigsaw it, just to show what a clever boy I am. I don't do anything in my script just to be clever. ~ Quentin Tarantino,
1376:What a wonderful work Wagner has done for humanity in translating the toil of life into the readable script of music! For those who seek the tale of other worlds his magic is silent; but earth-travail under his wand becomes instinct with rhythmic song to an accompaniment of the elements, and the blare and crash of the bottomless pit itself. ~ Richard Wagner,
1377:Sandpipers
Sandland where the salt water kills the sweet potatoes.
Homes for sandpipers—the script of their feet is on the sea shingles—they write
in the morning, it is gone at noon—they write at noon, it is gone at night.
Pity the land, the sea, the ten mile flats, pity anything but the sandpiper's wire
legs and feet.
~ Carl Sandburg,
1378:Whenever I'm doing any film, there's always three different things. There's the script, which is really just a blueprint. And then, you shoot the movie and it's an entirely different experience than you would expect from reading the script. And then, there's the whole post process and the editing, and it becomes something else entirely. ~ Thomas Ian Nicholas,
1379:You have to leave the window open for better classes to come along as you go. You can't grow too proud of your script. You have to let the thing shape itself. It guarantees the best classes will always be used and it also keeps you from going braindead. If you grow bored and uninspired working on something, the audience will be able to tell. ~ Don Hertzfeldt,
1380:I can't wait to do a fully improvised script again, to find people who are really comfortable and into it. It's about the capabilities of the people you're working with, what are their strengths and weaknesses. Some of the most brilliant actors need the spine of the text to work off of, and there's no shame in that; they're actors, not writers. ~ Lynn Shelton,
1381:I just couldn't believe that it [Into the Forest script] had fallen into my lap, because I felt so incredibly connected to my character, and I understood her, and I really...I haven't had that feeling about a script since I had read Thirteen or The Wrestler when I was just like, "No one else can do this." I just feel so passionate about it. ~ Evan Rachel Wood,
1382:Not all television scripts are created equal. And the process is ridiculous. They send you a script and want you in the next morning. That's not how acting works. You can do anything to me as an actor; I'm a very resilient guy. Just don't rush me. If you ask me to do it immediately with no time to prepare, I know you have contempt for actors. ~ Holt McCallany,
1383:Sometimes I'll read things in the script and think, "That's not how humans behave," or "I don't understand how to do that role and make it seem like I'm not some kind of strange alien or on a sitcom." I don't get it, and when I feel that way, I have to listen to my instinct. My initial instinct does lead me in a direction that I can trust. ~ Maggie Gyllenhaal,
1384:I always keep my options open. I always say, "Make me an offer and send me the script, and if it's something that I can connect to or relate to..." The character has to intrigue me, and the project overall has to intrigue me. And if it all lines up properly, then we can get into the business side of it. But it's always about the creative first. ~ Corey Feldman,
1385:I think when it comes to the issues, I'd advise him to stick to the script. But, I mean, Donald Trump is going to have some very tough conversations and he's going to be talking about some very tough and complicated issues in all of the places that he visits.I think anytime a president does things that are humanizing, I think it's - it's good. ~ Robert M Gates,
1386:I've always wanted to do non-comedies, I've always done dramas, comedies, music, and I always like to bop around and do different things. I'm looking for something a bit tougher, more muscle mass, something small, but the thing is, I get all the best comedy scripts, I don't get all the best drama scripts. So I'll just go with what's the best script. ~ Frank Oz,
1387:There's a way of thinking that comes with being an editor that is incredibly useful on the set. It's not just a vocabulary thing or a right-to-left thing or script supervisor stuff. It's a way of thinking about the film and the shots and the way they fit together, what you need and what you don't need, and what you can get away with if you have to. ~ Joe Dante,
1388:Because [writers] Dan Weiss and David Benioff have done such a great job in adapting them, that's what we work with. It serves no purpose to anybody for actors to come onto a set with a well-thumbed copy of the source material and start querying why this or that line has been left out of the script. It's probably been left out for a good reason. ~ Charles Dance,
1389:I always loved movies, but I never thought I would presume to be a screenwriter and definitely not a director. I spent a lot of time for no money trying to teach myself how to write a script. It always felt like everybody was looking the other way and sneaking that script through the system, but it did well later on video and got another chance. ~ Cameron Crowe,
1390:I don't think it's unfair to have writers. I think if you're going to do a roast on television, as if you were doing a play or you were reading a script of a movie, you would have the best possible material. And those are the people who score, the people who are willing to listen to the roasting experts and then come out there and own that material. ~ Jeff Ross,
1391:If there's a cutaway, you need to get it then because it's only going to last [a few moments]. You have to edit the movie as you're shooting it in your head and communicate with your crew about how it's going to work. While making a movie, you have the luxury of storyboards and a script and a bigger crew and actors. I mean, it's so much easier. ~ George Ratliff,
1392:I knew I could only play Cyrano if he were Americanized. I had no intention of writing the script myself. I was afraid of it. You're playing with fire when you tamper with a classic. So I went looking for a writer. But it was such a personal idea, and anyone I would give it to would make it his own. It's hard to ask Neil Simon to write your idea. ~ Steve Martin,
1393:In this way you must understand how laughable it is to say, ‘Tell me what to do!’ What advice could I possibly give? No, a far better request is, ‘Train my mind to adapt to any circumstance.’ . . . In this way, if circumstances take you off script . . . you won’t be desperate for a new prompting.” E PICTETUS, D ISCOURSES , 2.2.20 b –1; 24 b –25 a ~ Ryan Holiday,
1394:One study suggests that the standard crime news "script" is so prevalent and so thoroughly racialized that viewers imagine a black perpetrator even when none exists. In that study, 60 percent of viewers who saw a story with no image falsely recalled seeing one, and 70 percent of those viewers believed the perpetrator to be African American. ~ Michelle Alexander,
1395:Some people always have to be doing battle with someone, sometimes even with themselves, battling with their own lives. So they begin to create a kind of play in their head and they write the script based on their frustrations... But the worst part is that they cannot present the play by themselves so they begin to invite other actors to join in. ~ Paulo Coelho,
1396:With films, I just scribble a couple of notes for a scene. You don't have to do any writing at all, you just have your notes for the scene, which are written with the actors and the camera in mind. The actual script is a necessity for casting and budgeting, but the end product often doesn't bear much resemblance to the script--at least in my case. ~ Woody Allen,
1397:I think everybody came into it with the understanding that they would go through an experience that is literally not by the book, that is not executing the script and then going home, but living and breathing these characters and being in the moment with each other, and improvising and creating a lot of present-tense intensity between characters. ~ Oren Moverman,
1398:About 200 girls went into a room and there were two casting agents and they asked you to say your name and where you came from and then they picked two or three out of that. And they sent you into a room and I was really nervous and kept dropping things and I was going the wrong way and everything. Then she gave us a script and you had to learn it. ~ Evanna Lynch,
1399:For many viewers, though, the most memorable part of the parade was the very first float. Anointed “God’s Float” by its creators, it consisted of a replica of a house of worship with large photos of churches and synagogues arrayed along the sides. Two phrases appeared in grand Gothic script at each end: “Freedom of Worship” and “In God We Trust.”5 ~ Kevin M Kruse,
1400:I came from advertising. For me it's about protecting the director's vision. That's always the goal. There's keeping things on budget and on time and dealing with selling the movie so that to me is a focus. But also it's about serving the script. We are genre filmmakers, those are the films we love to make, so my perspective is a little different. ~ Charles Roven,
1401:Could synergy not create a new script for the next generation—one that is more geared to service and contribution, and is less protective, less adversarial, less selfish; one that is more open, more trusting, more giving, and is less defensive, protective, and political; one that is more loving, more caring, and is less possessive and judgmental? ~ Stephen R Covey,
1402:Every time I do a movie, I'm reading the script, or if it's something I have coming up, I'm reading the script, and I just spend hours and hours and days and weeks and months going over the script and just writing a lot of different ideas down, finding a little dialogue or just coming up with ideas for scenes and moments and all that kind of stuff. ~ Mark Wahlberg,
1403:I would say it was the directors. We have to give credit to the directors for this, because in the script, we just said, "Gru's Minions do this or do that" in the initial draft. And then, they came up with the characters' design and the philosophical concept of the Minions. And then, we started writing to that. We have to give a lot of credit to them. ~ Cinco Paul,
1404:The first page held a picture of a hazel blossom that Catherine had drawn. It had been pulled from its file, laminated with clear plastic, and secured to the album with gold photo corners. Below the drawing was my daughter's name, Hazel Jones-Hastings, in Elizabeth's elegant script, and her birthday, March 1, which wasn't her birthday at all. ~ Vanessa Diffenbaugh,
1405:Every time I do anything, I have to ask myself: Is it a good role, and is it right to do it? There may be sex or nudity or violence in the script, and then you have to say: Is it gratuitous just out to shock people? Or is it there because it has to be? If a role demands it, and it isn't gratuitous, I'll do it. It's my job, after all. I'm an actress. ~ Julie Andrews,
1406:So something I've felt I've learned with The Cosmopolitans shoot is using some agility and changing things quickly. That's something I found really useful on this shoot too. The gestation of The Cosmopolitans and this are slightly different from my other films. The script would be done and I'd be cutting it, but I wasn't always writing new material. ~ Whit Stillman,
1407:The inspiration is all in the script, in the text. So whatever it is, either it is a film or a book to be illustrated, anything. Everything you need to know is in the text. So the thing is trying to find right tone and voice, the right style, the right way of expressing the emotions in a story or in the location of the story, but it is all in the text. ~ Dave McKean,
1408:Here's what I didn't know when I was starting out that I now know…I thought when you were starting out it was really hard to write because you hadn't broken in yet, you hadn't really hit your stride yet. What I found out paradoxically is that the next script you write doesn't get easier because you wrote one before…each one gets harder by a factor of 10. ~ Shane Black,
1409:I want that," he said fiercely.
"What?"
"For you to be around."
Her breath caught. A tenuous hope took fire in her chest. "Really?"
He closed his glowing eyes and shook his head. "Yeah. It's fucking stupid. It's crazy. It's dangerous."
"So it'll fit right into your life script."
He laughed and looked down at her. "Yeah, pretty much. ~ J R Ward,
1410:I did a film called The Jesuit, which was an independent film. I did that shortly after Mistresses. I was still feeling soft and I was nursing, but it was a character I'd never played before. That was a Paul Schrader script, with an up-and-coming Mexican director, named Alfonso Ulloa. That has Tim Roth and Paz Vega in it, and I enjoyed that, as well. ~ Shannyn Sossamon,
1411:It took me three, four years, to get from my first film to my second film, banging on doors, trying to get people to give me a chance. Writing, struggling, with no money in the bank, working as an editor on the side. Working as a cameraman on the side. Getting little jobs, eking out a living. Trying to stay alive, and pushing a script that nobody wanted. ~ George Lucas,
1412:Coach Phil’s shorts probably fit him okay twenty, thirty pounds ago. His red polo shirt with the word “Coach” stitched in script across the left breast was also snug enough to double as sausage casing. He had the look of an ex-jock gone to seed, which, Maya surmised, he probably was. He was big and intimidating, and his size probably scared people. Keeping ~ Harlan Coben,
1413:Every time I prep a script, I hear it in my head, but I have to keep my mind open so that when an actor does something different than that, I can think, 'Well, that wasn't what I had in mind, but it works. Let's go with that.' That's why you hire actors and not technicians to do voiceovers, because someone who will creatively bring something to the party. ~ Andrea Romano,
1414:I read the script and I really liked it. It was high energy, crazy and it goes to any level to get people nuts and I thought Eve was an interesting character. At first I didn't get her, so it made me want to do the role because I wanted to dive in and see what she was about. On top of that I also wanted to work with Jason Statham because he's an amazing actor. ~ Amy Smart,
1415:I would always choose the script. You get more creative control that way. But, when you're in a situation like this, where everyone is really funny and you really want to do it, that's the chance of a lifetime, so you want to do it. But, a script has longer legs than a performance and, in the end, is more satisfying. It's harder, but it's more satisfying. ~ Justin Theroux,
1416:People always say, "What do you want to do next, what kind of movie do you want to do next?" And I say, "I wanna do whatever script that is the best one that comes my way." I certainly would never say, "Oh, I'm gonna do a Western next," and sit around waitin' for a Western to come along when there's some other genre's brilliant script sitting right there. ~ Christian Bale,
1417:Some actors might just do one thing, and another actor does another thing. I do an awful lot of preparation with the script, really. What I do is repeat the script, over and over and over again. Through that, it's almost like it seeps into my enamel. I'm reading all the characters, as well as my own. That is where the bulk of my preparation goes into. ~ Michael Fassbender,
1418:I couldn't believe that the conversations my family had or the friendly attitudes of the people I knew were genuine. I was certain there had to be a script somewhere – and once, when I was very young, I searched the house for it. I wanted to read the same words everyone else was saying. But there was no script. The only thing that ever felt real to me was death. ~ Otsuichi,
1419:I've been with that project [ Sausage Party] since its inception, since they wrote the script. It took them four years to get anyone to make the movie, because it was so filthy and there was this firm belief that there wouldn't be a market for an adult animated film, even though 10 or 15 years prior, South Park [Bigger, Longer, And Uncut] did really well. ~ David Krumholtz,
1420:Ah, a word-for-word repeat. A script. Yet another in a long list of reasons to be glad nobody I love is dead at that scene. If someone were murdered, and that murderer is in this building, and this cop is responsible for collecting the evidence to capture said murderer, Justice can go ahead and take a spa day. It won’t be called to duty any time soon. Meredith ~ S G Redling,
1421:I'm wearing three hats; I'm acting, producing, and directing. I was very involved in developing the script, too. But to me, that is very liberating. To me, the lower the budget, the more I want to be involved. I want to be more in control of my own destiny when there isn't much money involved, because you don't have the experts who can control your destiny. ~ Bruce Campbell,
1422:In the case of my second film The Fish Child (El Niño Pez), I had written the novel about 5 years before I made into a film. In the case of The German Doctor I had published the novel a year before I started writing the script, I even had another project to shoot. But I had this idea of the powerful cinematic language from the novel that I couldn't let go of. ~ Lucia Puenzo,
1423:Most of the time, with voice-overs, you're recording before they've got the graphics, and you also don't get a whole script. I get my lines, as I show up that day. You don't know what the rest of the story is, so you really rely on the people in the room that you're working with, so they can fill you in on what's going on, right around your particular lines. ~ Tricia Helfer,
1424:The only way I'd want to do something in television would be if it was about how I think as a comedian. I'd need to be able to be a creator. That's what I enjoy - I enjoy coming up with comedy, so it'd be very difficult for me to be sitting in a room and have somebody come in and say, "Here's your script! Learn these lines!" That's not fun. At least not for me. ~ Brian Regan,
1425:Too many people are surfing the web and trying to figure out the politics of getting a movie made or taking meetings and trying to get someone to read something instead of creating a truly great script, because something great has a great chance of getting made, but something average that you've sort of talked people into reading doesn't have as good a shot. ~ Scot Armstrong,
1426:Esme slowly turned the picture over, her hands beginning to tremble again. Inscribed across the back of the photograph, in a woman’s elegant script, were two words. The ink might have faded, but the sentiment would surely endure forever.

Dix’s strong, warm arms went around her. He rested his cheek against hers as they whispered in unison,“My Darling”. ~ Teresa Medeiros,
1427:On the set of an independent film you can tell that nobody is doing it for the money. Everyone is there because they love the script. A smaller budget sort of unifies everyone; it's a real team effort and that's amazing. But these opportunities just don't present themselves that often for me, so basically any chance I get to do something different I jump on it. ~ Will Ferrell,
1428:Years ago I was going to play Chet Baker in another movie and I really felt drawn to that character and the script is good and I met with Robert and we seemed simpatico and we developed. But I had a real passion for that role and that brought me deep into that film 'cause I got the sense that Robert Budreau was going to really let me be creative inside this part. ~ Ethan Hawke,
1429:You shouldn't speak until you know what you're talking about. That's why I get uncomfortable with interviews. Reporters ask me what I feel China should do about Tibet. Who cares what I think China should do? I'm a f***ing actor! They hand me a script. I act. I'm here for entertainment, basically, when you whittle everything away. I'm a grown man who puts on makeup. ~ Brad Pitt,
1430:The script is the most important thing for me. I'm advised that other things are important too, and they are. The director that you'll be working with is hugely important, and the cast that are with you is really important as well. But, for me, the thing that gets my heart excited and really makes me invested in something or not is just the quality of the script. ~ James McAvoy,
1431:For me, I wish I loved every script that I read. Sometimes I'm more picky and choosy than I really should be because you would get more jobs as an actor! But you don't know what it is. Sometimes you read something and it could be a big part or a small part. It could be one scene and I'll read it and say: "Wow, I really like that and I really want to do that.". ~ William Fichtner,
1432:I've written a script which will help change consciousness and free people from an old dead Earth and help them make their journey to the new one where we will have true health, creativity, freedom, love and dream sharing. We are working on getting the funding for it and will be the deepest communication I've shared yet which goes back to your question up top. ~ Giuseppe Andrews,
1433:We rehearsed for a bit for an Indie film, which is kind of unusual, we had a week of rehearsals before we actually shot the films so we were able to really break down the script and kind of work through all of the improvisational things that he wanted to do, so he had a chance to really feel his way through before we actually shot it and I think that helped a lot. ~ Duncan Jones,
1434:When I'm writing, I try to have the mask of my character on as I'm walking through the world. When I'm not at my desk, the rest of the time, I try to stay in that character and see the world the way that character would It's almost like method acting in a way — keeping the character close the way the actor keeps a script close and always tries to be in character. ~ Stewart O Nan,
1435:I think you have to ask yourself, what is the point of the script? What is the script selling? Because all scripts are political, every story is political. It either challenges or reinforces some schism or stereotype. So what is the project going to say at the end of the day? What does it tell you about the world, or what does it challenge in terms of your world? ~ Susan Sarandon,
1436:I had a hard time on TV, the last time on television, so I wasn't sure that I wanted to do that again. But, I really am a big fan of Jenji and I knew this is her next thing, so I read it. And once I read the script, I was really, really impressed that there was a woman who was the centerpiece of her own story, and that she was in the center of her own narrative. ~ Taylor Schilling,
1437:the unrequited lover is the one who waits. He waits and waits, and then waits some more. He is the one who drops vital moments of his life, lets them scatter away, lets himself scatter away piece by piece for those three words. I love you. He is desperate and lonely, both by choice and circumstance. It’s the story of my life packed into a neat, tidy script. Thomas ~ Saffron A Kent,
1438:You know, my problem with most screenwriting is it is a blueprint. It's like they're afraid to write the damn thing. And I'm a writer. That's what I do. I want it to be written. I want it to work on the page first and foremost. So when I'm writing the script, I'm not thinking about the viewer watching the movie. I'm thinking about the reader reading the script. ~ Quentin Tarantino,
1439:The biggest mistake I made was not having a full-time producer. I was securing locations and wardrobe and making sure people get called to show up on time and getting the film to the lab and getting the camera, and all this stuff that I'm happy to do, but if I'm doing every little thing, I'm not concentrating on my story. So it never gets any better than the script. ~ Shane Carruth,
1440:Yeah I was aware of the book, but hadn't read it. So as soon as I'd finished the script, I got a copy of the book and read that. My wife had read it and she loves it, so that was a good sounding board. I like her writing style, she's such a page-turner. I enjoyed The Constant Princess as well. I think she's great. The books are very popular with women and I can see why. ~ Eric Bana,
1441:But the script's got to be at a level that makes it worth going back for, because it's a lot of work to make a movie like this and it's a multi-year project. So we've got our writer Jesse Wigutow on it right now writing, and fingers crossed if it all comes together, as we hope it will, there could be another Tron in the next few years, and it's going to be awesome. ~ Joseph Kosinski,
1442:I actually think film and TV are sort of the same thing now. To me they're all motion pictures. There's a camera, a script, other actors and a director. Doing a sitcom is a little different. It's kind of a hybrid, half movie, half play, presented in a proscenium fashion - the camera's on one side of the line, the set on the other, the audience sitting behind the cameras. ~ Alan Ruck,
1443:I really feel our job as actors is to find a human experience in the character. So, for me, genre comes second; it's about script and the emotional journey of that character. Genre definitely has an impact, but it has more of an impact on the way the character is expressed. We all have the same core emotions of love, jealousy, rage - it's just how they're expressed. ~ Sophie Cookson,
1444:Roger [Corman] didn't actually hire me, though. I was hired by AIP [American International Pictures], the studio that made the picture, which was Sam Arkoff and Jim Nicholson. It was a great learning experience for me, because not only did I work on the script, but they hired me back to go on location when they were making the movie, to write new scenes and so forth. ~ Curtis Hanson,
1445:The class warfare was in the script as well. It establishes what the world is like and what would happen if we really had two zones that were left and everybody had to survive using these two areas. What would our society to do with that set up? I wanted the state of world, in my mind, how it would actually realistically unfold. I drew that from what was in the script. ~ Len Wiseman,
1446:I’m often misunderstood at my supermarket in Sussex, not because of my accent but because I tend to deviate from the script. Cashier: Hello, how are you this evening? Me: Has your house ever been burgled? Cashier: What? Me: Your house—has anyone ever broken into it and stolen things? With me, people aren’t thinking What did you say? so much as Why are you saying that? ~ David Sedaris,
1447:SCHEDULE OF SHOWS: 2:00 - 2:10: Admittance 2:10 - 2:15: The Khünbish Sisters 2:15 - 2:20: Helen Keller 2:20 - 2:30: The Fantastic Zippy and Trainer 2:30 - 2:35: [teeth and claw marks] 2:35 - 2:40: Intermission 2:40 - 2:41: erotic performance.exe 2:41 - 2:45: The Council of Libidinous Elders 2:45 - 3:20: Serial No. 223244-09-P 3:20 - 3:30: [indecipherable cuneiform script] ~ Anonymous,
1448:Son, there is no reason except a stupid one for anybody to project on that screen anything that will worry him or dull that vital edge. After all, we are the absolute bosses of that whole theatre and show in our minds. We even write the script. So always write positive, dynamic scripts and show only the best movies for you on that screen whether you are pimp or priest. ~ Iceberg Slim,
1449:['John F. Kennedy] movie is based on a massive best-selling book, which is always helpful. And then the script was amazing and answered my question, "Why this? Why now?" And the "why now" is that it's 50 years since the assassination, and the country needs to have and will have a conversation about that. And the "why this" is the construct, which I think is sort of ingenious. ~ Rob Lowe,
1450:A lot of films that have been adapted from books stop serving you because they become different. I mean, they are different entities in themselves, but artistically, what you're trying to achieve with a film is so very different to what you're trying to achieve with a book, and the way when you write a script is so very different on paper to how it seems on a screen. ~ Andrea Riseborough,
1451:I don't know that we are actually human at this point, those of us who are like most of us, who grew up with TV and movies and now the Internet. If we are betrayed, we know the words to say; when a loved one dies, we know the words to say. If we want to play the stud or the smart-ass or the fool, we know the words to say. We are all working from the same dog-eared script. ~ Gillian Flynn,
1452:I don’t know that we are actually human at this point, those of us who are like most of us, who grew up with TV and movies and now the Internet. If we are betrayed, we know the words to say; when a loved one dies, we know the words to say. If we want to play the stud or the smart-ass or the fool, we know the words to say. We are all working from the same dog-eared script. ~ Gillian Flynn,
1453:Kushan coins bore Greek or Kharoshthi script along with images of their kings, Greek, Persian, and Hindu gods, and of the Buddha. Reliable coinage helped Kushan broker commercial exchanges between China, India, Persia, and, ultimately, Rome. Kushan became a great patron of Buddhism and promoted the dissemination of the faith through Central Asia, en route to East Asia. ~ James A Millward,
1454:There are people I'm drawn to that you just can't do a tiny, no-budget movie with. I would like to pursue some of that stuff, to see if I could do a movie with some of those people. And I don't really write scripts myself, but if I read a script I thought was really great, I would totally be up for doing a more traditional movie. It's just that I don't exist in that world. ~ Joe Swanberg,
1455:I don't know that we are actually human at this point, those of us who are like most of us, who grew up with TV and movies and now the Internet. If we are betrayed, we know the words to say; when a loved one dies, we know the words to say. If we want too play the stud or the smart-ass or the fool, we know the words to say. We are all working from the same dog-eared script. ~ Gillian Flynn,
1456:In 2013, a twenty-nine-year-old aspiring film director named Stephen Parkhurst parodied the older generation’s take on Millennials in a video—Millennials: We Suck and We’re Sorry—that went viral, with over 3 million views and counting.2 In his script, Parkhurst cleverly combined an acknowledgment of Millennial behavior with a critique of the parents who raised them, ~ Julie Lythcott Haims,
1457:With a film you go with the script that's already written. And I've never thought of a project, a film that would come from my own desire. I don't think I can do it. I need someone else's desire to be able to do something. With a record, it is completely different, it's a collaboration with another artist, but I'm willing to go into intimate places with no masks on. ~ Charlotte Gainsbourg,
1458:As always, so polite that he is at the beginning distant, and yet always determined. This is because he has uses for us all. Yukio is not only a dramatist but also a practicing stage director. For the drama of his life, he has cast us in our various roles, those demanded by the rigor of the script. Each of us has his or her purpose—or else we would not have seen him at all. ~ Donald Richie,
1459:Everyone in the facility seemed to think Troy was in charge, but he wasn’t fooled. He was just another person doing a job, following a script. He found an empty spot facing the screen. Unlike that first day, it no longer bothered him to see the scorched world outside. The view had grown oddly comforting. It created a dull ache in his chest, which was near to feeling something. ~ Hugh Howey,
1460:I don't normally get very star struck. However, I was just at a table read for a movie. It was an animated movie where they have all the actors come in and sit around a big table and read the whole script out loud so you can see what's working, what's not working. And this is an animated movie that Paul McCartney is doing and he's producing it. So I got to meet Paul McCartney. ~ Rob Huebel,
1461:I don’t know that we are actually human at this point, those of us who are like most of us, who grew up with TV and movies and now the Internet. If we are betrayed, we know the words to say; when a loved one dies, we know the words to say. If we want to play the stud or the smart-ass or the fool, we know the words to say. We are all working from the same dog-eared script. It ~ Gillian Flynn,
1462:The ancient pages rose among the others, palisaded with strange letters and words, the faint script hardly more readable than the footprints of birds. He read until his eyelids drooped. But as his head dropped, he fancied he caught the sharp savor of sap beneath the chalky dust of the pages, or the heavy perfumes of blossom from the orchards of plums and pears and apples. ~ Lawrence Norfolk,
1463:Theratre is not like like in film and TV, where you have to stop and go back and keep redoing the same three pages for two hours. You get to go through the whole 80 pages of the script, which is incredible. You get to keep acting on the feelings you had just moments before. You don't have to psych yourself up for the scene. You can just go off what you were already feeling. ~ Taissa Farmiga,
1464:I got the script of Imperial Dreams from my agent. I was at home having a full English breakfast and the email came through in my junkmail. Funnily enough, I was paying a T-Mobile bill, so I was able to see the email. After that I was engaged in the story. I was scared - fearful - because the story doesn't just penetrate one level in terms of narrative; it goes that level after. ~ John Boyega,
1465:So you proceed to read the Unity forums, study some scripting tutorials, maybe even copy and paste some scripts to get some action going when you press Play. That's great, but then you realize you don't understand anything in the scripts you've copied.Sure, you probably recognize the words, but you fail to understand what those words do or mean in a script. It feels like gibberish ~ Anonymous,
1466:All modesty aside, I think I'm good at reading scripts. The way I read a script is as fast as I can, all in one sitting, and I don't read many of the stage directions. I only read enough stage directions to let me know where I am, because they're always so verbose and mostly horseshit. So I only read the dialogue, which allows me to see the movie in my mind's eye in real time. ~ William H Macy,
1467:All part of the morning ritual: Astor never wanted anything Rita gave her to eat. And I found it oddly comforting that I knew what would happen next, as Rita and the kids followed the every-morning script and I waited for the cold pills to kick in and return to me the power of independent thought. Until then, no need to worry; I didn’t have to do anything but follow the pattern. ~ Jeff Lindsay,
1468:Once you are shooting a movie, even if it's your own script, you have to let it go at a certain point. That's true for every film. It breaks up into phases where the thing that you have in front of you is the thing you have to address, and you can't worry about what you imagined a scene was going to like and that it came out differently, because that's what you have to make work. ~ Todd Haynes,
1469:The first time I met Harrison, I think, was at the very first read through of the script. As anyone would be, I was a bit nervous before meeting him. I mean, it's Han Solo, so it was quite crazy. But once you get to know him, he really is such an amazing person. He's such an amazing actor as well. As I said before, his presence really does get the best out of you as an actor. ~ Asa Butterfield,
1470:A year ago, just after Ben’s disappearance, I was involved in a press conference, which was televised. My role was to appeal for help in finding him. The police gave me a script to read. I assumed people watching it would automatically understand who I was, that they would see I was a mother whose child was missing, and who cared about nothing apart from getting him back. Many ~ Gilly Macmillan,
1471:The creation of a film starts with an idea, a notion of a time period or characters, and you get really excited about the idea, and sell it to others if you need their support to write the script. You can't wait to get started, and then you try to start, and you struggle with the blank page, and you get some ideas, and they're bad ideas, and you write bad stuff. It's really bad. ~ Whit Stillman,
1472:I met [ Samuel L. Jackson ] for the first time on The Today Show. He came out of an elevator. I was promoting A Mighty Wind and he was promoting something else. He said, "I hear we're going to be working together." I said, "On what?" He said, 'The Man.' I hadn't heard his name mentioned before. I made a few calls and found out he had the script and was interested. That was it. ~ Samuel L Jackson,
1473:There's a rhythm to script [ in "I Don't Feel at Home in This World Anymore"], as well, especially the pacing of it. But there definitely were times when I would say something and [ Macon Blair] would say, "I didn't think to deliver it like that" or, "I didn't think it had that meaning." And he'd say, "I like it. I think it's good." So he's open. He's not battering it into you. ~ Melanie Lynskey,
1474:Any script, even like The Founder, if it's something that I imagine myself playing this character or that character - any of the characters, basically - how do we flesh these characters out to be good enough to have amazing actors that come in that make it really difficult for them to say no? Even though I'm not right for any of those parts, that's just kind of how we go about it. ~ Jeremy Renner,
1475:I remember working with Jackie Chan on Shanghai Noon [2000], and when we were working on the script, I thought that my character thought about being an outlaw the way a kid today would think about being a rock star, as a way to impress girls. So it was just kind of a funny idea, but once we had that idea, it changed the character and made it something that was funnier to me to play. ~ Owen Wilson,
1476:I have long dreaded the thought of getting to the end of life and regretting that I allowed my own timidity or other people's expectations to determine the course of my life. I had decided at a much younger age that several of my beliefs should determine the course of my life...I...believe that Waengongi, the Creator, has an epic script into which my minute presence has been written. ~ Steve Saint,
1477:I'll wait to see what the film [The Lobster] is, but it's set in a contemporary world, in America, there are hospitals and diners, parks, things that we will recognize and experienced ourselves but yet there's this similar kind of uneasiness through all the interactions and all the things that take place. It was unnerving reading the script. I kind of felt nauseous after reading it. ~ Colin Farrell,
1478:In high school, my friend and I discovered that your cable-access station had to let you do whatever you wanted - it was like the Wild West. We made a couple weird things, like a tribute to the Zucker brothers, where we had a panel discussion about the Naked Gun movies. We wrote a script and made jokes that I'm sure were terrible and showed clips of The Naked Gun without permission. ~ Michael Schur,
1479:John Belushi infused Animal House with this spirit of guerilla filmmaking. John Landis came from that world too, and all the National Lampoon writers were from that world. It was just chaos on film. Controlled chaos, though. We stayed very close to the script. It was a very formal kind of movie, if you look at it. Formally photographed and structured, with certain elements of improv. ~ Tim Matheson,
1480:I'm a little older and fatter now, and I'm not exercising as much. My lifestyle these days involves a lot of beer and pasta. But there's something satisfying in letting your body go to hell. So maybe I won't get offered the same kind of role as before. So what? I'm happy to play the guy in his mid-30s who may be a little unhealthy. "Fat and arrogant" is what I'm bringing to the script. ~ Luke Wilson,
1481:There are certain things that I will do viscerally to affect people emotionally, with speed changes and sound, and various other things. Sure there are links; the same kind of sensibilities went into it and I worked on writing that script as well so there was an emphasis on a minimalisation of dialogue as far as possible, to focus on the visual and to put it in another language, of course. ~ Mel Gibson,
1482:I think a lot of people - by the time I came back with a script I liked, which took me many years, they'd forgotten who I was. Doors all the time are slamming, you meet friends that you've had for years, you'd go to the studio, and they'd say things to indicate clearly that they hadn't read it, or that they'd had their assistant sort of skim it. They wouldn't buy it. They wouldn't make it. ~ Shane Black,
1483:The actors come in and they make characters their own and so Patrick and I have never been the kind to think that our script is the bible. We want to make sure that the story is told, that you stick to the story but if you have to make changes to the character then that's fine. A lot of times there are some funny one-liners, funny things that happen that are out of the ordinary. I like it. ~ Todd Farmer,
1484:The Larry Sanders Show сhanged my life. I am so thankful that - I mean, go figure. Most people are lucky to get one good series, but I got two ground-breakers. I just knew when I read that "Hey Now" script that something was afoot. Those were seven of the greatest years of my life. I learned so much, and it affirmed everything I thought comedy was. It was really a tremendous experience. ~ Jeffrey Tambor,
1485:If I were an immigrant Latino not born in the US, I could not have written Searching for Whitopia: An Improbably Journey to the Heart of America book. And that is because many of the Whitopians would not have been comfortable talking about their views on immigration, talking about their views on taxes. And they wouldn't have spilled to me the new script on race and poverty as they did. ~ Richard Benjamin,
1486:Martin [Campbell] is very energetic and precise. He'll on the set like four hours early with a flashlight and I thought, well, I'll certainly try to be very neat about my script like Martin, which I wasn't, but I'm not going to do that bit with the 4AM and the flashlight. I'd love to be able to say I was nervous, but I wasn't. The only time I ever had anxiety it turned out to be asthma. ~ William Monahan,
1487:When I talk to Ryan Murphy or Ali Adler about my past or things in my personal life, occasionally pieces of that will end up in the script, and I think that's true of everybody. It's true of that entire writer's room, certainly of Ryan and Ali. I think that he writes really well for actors, for his actors, and he writes to their strengths. I always feel very well taken care of with him. ~ Andrew Rannells,
1488:9At once the royal secretaries were summoned—on the twenty-third day of the third month, the month of Sivan. They wrote out all Mordecai’s orders to the Jews, and to the satraps, governors and nobles of the 127 provinces stretching from India to Cush.a These orders were written in the script of each province and the language of each people and also to the Jews in their own script and language. ~ Anonymous,
1489:Oh sorry, I didn’t realize they didn’t give you the whole script. They try to keep these big horror movies confidential. Anyway, we’re faxing the pages to you now. It’s only two scenes, but she’s a very memorable character, like I said. Congratulations. The director found you very wholesome, exactly the sort of all-American girl next door whose death would inspire a man to kill. His words. ~ Lauren Graham,
1490:I do feel that if it's not on the page, there's no hope of it getting to the stage. You really can't take a cat and turn it into a dog, or try and get lemons off an apple tree, or what have you. Sometimes there's this real naïveté that people possess, where they want you to infuse a scene with a certain quality, and it's like an apology. "I read the script, didn't you? What's the agenda here?" ~ Diane Lane,
1491:It's probably unprecedented for a filmmaker simply to take the writers' script and treat it as the instructions on the package. What really happens is you pretty much suppress your own instincts - and your own views on the matter - and write things the way filmmakers would like to have them, though the filmmakers often don't know what they want. They can only find out by reading what you do. ~ Tom Stoppard,
1492:I watched carefully as she lifted her baton in the air and began to write. Painstakingly, they were, these last words, and harrowing to witness. Incredulous, I realized what she had spelled out for me. Something that once upon a time had been a great joke between us, part of our shared love of the irreverent.
The cigarette, in invisible script, had written: YOU WILL BE WITH ME IN PARADISE. ~ Kate Mulgrew,
1493:Yeah, uh, listen, ladies,” the clerk said. “Someone’s gonna have to pay for this ripped jersey here.” Our words toppled over each other’s again. “Not me.” For someone so completely unlike me, this Psycho Mom certainly was reading from the same script as I was. “Why don’t you ladies split it?” he suggested. “Looks like they’ve already done that, dude,” a spectator couldn’t resist injecting. ~ Jennifer Coburn,
1494:All the world’s a stage. Creative work is a kind of theater. The stage is your studio, your desk, or your workstation. The costume is your outfit—your painting pants, your business suit, or that funny hat that helps you think. The props are your materials, your tools, and your medium. The script is just plain old time. An hour here, or an hour there—just time measured out for things to happen. ~ Austin Kleon,
1495:I was well aware of that when I heard they were remaking 'Total Recall.' My first reaction was: 'Ewww, really okay?' And the director said you should really look at it, the script is good. I had already done a remake. I had just finished 'Fright Night.' When I heard about that being remade, I had a whole ego thing... remake?. 'That is so uncool! I loved the original, I can't possibly do that. ~ Colin Farrell,
1496:When I did The X-Files, there was certainly less of that because the script was as it was and it was such a wonderful script and it was quite complex and there wasn't a hell of a lot of improvising I could do to bring to the table, but I guess what I did bring was a sense of self and that the reason I was cast was because I did come across as someone who possibly was only human for a short time. ~ Rhys Darby,
1497:4. There is a text that looms in resilient power. There is a waiting congregation, perhaps not tired out, but too sure of self, pretending buoyancy where there might have been transformation. There is the voice that takes the old script and renders it to evoke a new world we had not yet witnessed (cf. Isa. 43:19). The fourth and final partner is this better world given as fresh revelation. ~ Walter Brueggemann,
1498:I came to this project and 'Far from Heaven' from completely different vantage points. 'Heaven' was of course about the Douglas Sirk films of that period, with the very specific cinematic language and style of melodrama. With 'Carol,' it was presented to me already packaged, with Cate Blanchett attached and Phyllis Nagy's script complete - when it came to me it had a long history and pre-history. ~ Todd Haynes,
1499:I don't think fast enough on my feet in terms of the writing to change the script too much when I'm shooting it. I like to have it set and done and know that I feel good about it and I might add a few lines here and there while we're shooting, if I think of a new joke, I might toss it in, but for the most part, I try to stick to the written script and have all the latitude exist within that. ~ Kenneth Lonergan,
1500:There's this script that my dad wrote that portrays my brother's life, and I don't want to bore you with the details, but there's something in that that's really great. I would love working with him. I don't know in what way, but if I need a coach next time I'm on the set, or to produce or make something, absolutely. He's one of the main reasons I am where I am today. His mentorship and guidance. ~ Steve Howey,

IN CHAPTERS [300/615]



  286 Integral Yoga
   76 Yoga
   47 Christianity
   28 Philosophy
   19 Poetry
   17 Occultism
   11 Fiction
   6 Psychology
   6 Hinduism
   5 Baha i Faith
   3 Kabbalah
   2 Mysticism
   1 Thelema
   1 Science
   1 Mythology
   1 Alchemy


  283 Sri Aurobindo
   47 Sri Ramakrishna
   30 Saint Augustine of Hippo
   29 The Mother
   27 Nolini Kanta Gupta
   19 Aldous Huxley
   18 Satprem
   16 Swami Krishnananda
   11 Swami Vivekananda
   11 H P Lovecraft
   9 Carl Jung
   8 Sri Ramana Maharshi
   8 Aleister Crowley
   7 Anonymous
   6 Jorge Luis Borges
   5 Baha u llah
   4 Saint John of Climacus
   4 Plato
   4 George Van Vrekhem
   3 William Wordsworth
   3 Vyasa
   3 Swami Sivananda Saraswati
   3 Rabbi Moses Luzzatto
   3 Patanjali
   3 Lalla
   2 Walt Whitman
   2 Mahendranath Gupta
   2 James George Frazer
   2 Friedrich Nietzsche
   2 Franz Bardon


  202 Record of Yoga
   46 The Gospel of Sri Ramakrishna
   21 City of God
   19 The Perennial Philosophy
   16 The Study and Practice of Yoga
   15 The Bible
   14 The Synthesis Of Yoga
   12 Savitri
   11 Lovecraft - Poems
   10 The Confessions of Saint Augustine
   10 Talks
   9 On Thoughts And Aphorisms
   9 Collected Works of Nolini Kanta Gupta - Vol 07
   7 Essays In Philosophy And Yoga
   6 The Secret Doctrine
   6 Magick Without Tears
   5 The Life Divine
   5 The Blue Cliff Records
   5 Sri Aurobindo or the Adventure of Consciousness
   5 Letters On Yoga II
   5 Kena and Other Upanishads
   5 Collected Works of Nolini Kanta Gupta - Vol 05
   5 Bhakti-Yoga
   5 Aion
   4 Vedic and Philological Studies
   4 The Ladder of Divine Ascent
   4 Preparing for the Miraculous
   4 Labyrinths
   4 Essays On The Gita
   4 Essays Divine And Human
   4 Collected Works of Nolini Kanta Gupta - Vol 02
   4 A Garden of Pomegranates - An Outline of the Qabalah
   3 Wordsworth - Poems
   3 Vishnu Purana
   3 The Book of Certitude
   3 The 7 Habits of Highly Effective People
   3 Raja-Yoga
   3 Patanjali Yoga Sutras
   3 Mysterium Coniunctionis
   3 Isha Upanishad
   3 General Principles of Kabbalah
   3 Collected Works of Nolini Kanta Gupta - Vol 04
   3 Collected Works of Nolini Kanta Gupta - Vol 03
   3 Agenda Vol 07
   3 Agenda Vol 04
   2 Whitman - Poems
   2 Twilight of the Idols
   2 The Zen Teaching of Bodhidharma
   2 The Human Cycle
   2 The Golden Bough
   2 Questions And Answers 1954
   2 Questions And Answers 1929-1931
   2 Letters On Poetry And Art
   2 Initiation Into Hermetics
   2 Hymns to the Mystic Fire
   2 Collected Poems
   2 Amrita Gita
   2 Agenda Vol 03


0.00 - INTRODUCTION, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
   The Christian missionaries gave the finishing touch to the process of transformation. They ridiculed as relics of a barbarous age the images and rituals of the Hindu religion. They tried to persuade India that the teachings of her saints and seers were the cause of her downfall, that her Vedas, Puranas, and other scriptures were filled with superstition. Christianity, they maintained, had given the white races position and power in this world and assurance of happiness in the next; therefore Christianity was the best of all religions. Many intelligent young Hindus became converted. The man in the street was confused. The majority of the educated grew materialistic in their mental outlook. Everyone living near Calcutta or the other strong-holds of Western culture, even those who attempted to cling to the orthodox traditions of Hindu society, became infected by the new uncertainties and the new beliefs.
   But the soul of India was to be resuscitated through a spiritual awakening. We hear the first call of this renascence in the spirited retort of the young Gadadhar: "Brother, what shall I do with a mere bread-winning education?"
  --
   One day the priest of the Radhakanta temple accidentally dropped the image of Krishna on the floor, breaking one of its legs. The pundits advised the Rani to install a new image, since the worship of an image with a broken limb was against the scriptural injunctions. But the Rani was fond of the image, and she asked Sri Ramakrishna's opinion. In an abstracted mood, he said: "This solution is ridiculous. If a son-in-law of the Rani broke his leg, would she discard him and put another in his place? Wouldn't she rather arrange for his treatment? Why should she not do the same thing in this case too? Let the image be repaired and worshipped as before." It was a simple, straightforward solution and was accepted by the Rani. Sri Ramakrishna himself mended the break. The priest was dismissed for his carelessness, and at Mathur Babu's earnest request Sri Ramakrishna accepted the office of priest in the Radhakanta temple.
   ^No definite information is available as to the origin of this name. Most probably it was given by Mathur Babu, as Ramlal, Sri Ramakrishna's nephew, has said, quoting the authority of his uncle himself.
  --
   Hindu priests are thoroughly acquainted with the rites of worship, but few of them are aware of their underlying significance. They move their hands and limbs mechanically, in obedience to the letter of the scriptures, and repeat the holy mantras like parrots. But from the very beginning the inner meaning of these rites was revealed to Sri Ramakrishna. As he sat facing the image, a strange transformation came over his mind. While going through the prescribed ceremonies, he would actually find himself encircled by a wall of fire protecting him and the place of worship from unspiritual vibrations, or he would feel the rising of the mystic Kundalini through the different centres of the body. The glow on his face, his deep absorption, and the intense atmosphere of the temple impressed everyone who saw him worship the Deity.
   Ramkumar wanted Sri Ramakrishna to learn the intricate rituals of the worship of Kali. To become a priest of Kali one must undergo a special form of initiation from a qualified guru, and for Sri Ramakrishna a suitable brahmin was found. But no sooner did the brahmin speak the holy word in his ear than Sri Ramakrishna, overwhelmed with emotion, uttered a loud cry and plunged into deep concentration.
   Mathur begged Sri Ramakrishna to take charge of the worship in the Kali temple. The young priest pleaded his incompetence and his ignorance of the scriptures. Mathur insisted that devotion and sincerity would more than compensate for any lack of formal knowledge and make the Divine Mother manifest Herself through the image. In the end, Sri Ramakrishna had to yield to Mathur's request. He became the priest of Kali.
   In 1856 Ramkumar breathed his last. Sri Ramakrishna had already witnessed more than one death in the family. He had come to realize how impermanent is life on earth. The more he was convinced of the transitory nature of worldly things, the more eager he became to realize God, the Fountain of Immortality.
  --
   Naturally the temple officials took him for an insane person. His worldly well-wishers brought him to skilled physicians; but no-medicine could cure his malady. Many a time he doubted his sanity himself. For he had been sailing across an uncharted sea, with no earthly guide to direct him. His only haven of security was the Divine Mother Herself. To Her he would pray: "I do not know what these things are. I am ignorant of mantras and the scriptures. Teach me, Mother, how to realize Thee. Who else can help me? Art Thou not my only refuge and guide?" And the sustaining presence of the Mother never failed him in his distress or doubt. Even those who criticized his conduct were greatly impressed with his purity, guilelessness, truthfulness, integrity, and holiness. They felt an uplifting influence in his presence.
   It is said that samadhi, or trance, no more than opens the portal of the spiritual realm. Sri Ramakrishna felt an unquenchable desire to enjoy God in various ways. For his meditation he built a place in the northern wooded section of the temple garden. With Hriday's help he planted there five sacred trees. The spot, known as the Panchavati, became the scene of many of his visions.
  --
   One of the painful ailments from which Sri Ramakrishna suffered at this time was a burning sensation in his body, and he was cured by a strange vision. During worship in the temple, following the scriptural injunctions, he would imagine the presence of the "sinner" in himself and the destruction of this "sinner". One day he was meditating in the Panchavati, when he saw come out of him a red-eyed man of black complexion, reeling like a drunkard. Soon there emerged from him another person, of serene countenance, wearing the ochre cloth of a sannyasi and carrying in his hand a trident. The second person attacked the first and killed him with the trident. Thereafter Sri Ramakrishna was free of his pain.
   About this time he began to worship God by assuming the attitude of a servant toward his master. He imitated the mood of Hanuman, the monkey chieftain of the Ramayana, the ideal servant of Rama and traditional model for this self-effacing form of devotion. When he meditated on Hanuman his movements and his way of life began to resemble those of a monkey. His eyes became restless. He lived on fruits and roots. With his cloth tied around his waist, a portion of it hanging in the form of a tail, he jumped from place to place instead of walking. And after a short while he was blessed with a vision of Sita, the divine consort of Rama, who entered his body and disappeared there with the words, "I bequeath to you my smile."
  --
   In 1858 there came to Dakshineswar a cousin of Sri Ramakrishna, Haladhari by name, who was to remain there about eight years. On account of Sri Ramakrishna's indifferent health, Mathur appointed this man to the office of priest in the Kali temple. He was a complex character, versed in the letter of the scriptures, but hardly aware of their spirit. He loved to participate in hair-splitting theological discussions and, by the measure of his own erudition, he proceeded to gauge Sri Ramakrishna. An orthodox brahmin, he thoroughly disapproved of his cousin's unorthodox actions, but he was not unimpressed by Sri Ramakrishna's purity of life, ecstatic love of God, and yearning for realization.
   One day Haladhari upset Sri Ramakrishna with the statement that God is incomprehensible to the human mind. Sri Ramakrishna has described the great moment of doubt when he wondered whether his visions had really misled him: "With sobs I prayed to the Mother, 'Canst Thou have the heart to deceive me like this because I am a fool?' A stream of tears flowed from my eyes. Shortly afterwards I saw a volume of mist rising from the floor and filling the space before me. In the midst of it there appeared a face with flowing beard, calm, highly expressive, and fair. Fixing its gaze steadily upon me, it said solemnly, 'Remain in bhavamukha, on the threshold of relative consciousness.' This it repeated three times and then it gently disappeared in the mist, which itself dissolved. This vision reassured me."
  --
   Sri Ramakrishna welcomed the visitor with great respect, described to her his experiences and visions, and told her of people's belief that these were symptoms of madness. She listened to him attentively and said: "My son, everyone in this world is mad. Some are mad for money, some for creature comforts, some for name and fame; and you are mad for God." She assured him that he was passing through the almost unknown spiritual experience described in the scriptures as mahabhava, the most exalted rapture of divine love. She told him that this extreme exaltation had been described as manifesting itself through nineteen physical symptoms, including the shedding of tears, a tremor of the body, horripilation, perspiration, and a burning sensation. The Bhakti scriptures, she declared, had recorded only two instances of the experience, namely, those of Sri Radha and Sri Chaitanya.
   Very soon a tender relationship sprang up between Sri Ramakrishna and the Brahmani, she looking upon him as the Baby Krishna, and he upon her as mother. Day after day she watched his ecstasy during the kirtan and meditation, his samadhi, his mad yearning; and she recognized in him a power to transmit spirituality to others. She came to the conclusion that such things were not possible for an ordinary devotee, not even for a highly developed soul. Only an Incarnation of God was capable of such spiritual manifestations. She proclaimed openly that Sri Ramakrishna, like Sri Chaitanya, was an Incarnation of God.
  --
   Two famous pundits of the time were invited: Vaishnavcharan, the leader of the Vaishnava society, and Gauri. The first to arrive was Vaishnavcharan, with a distinguished company of scholars and devotees. The Brahmani, like a proud mother, proclaimed her view before him and supported it with quotations from the scriptures. As the pundits discussed the deep theological question, Sri Ramakrishna, perfectly indifferent to everything happening around him, sat in their midst like a child, immersed in his own thoughts, sometimes smiling, sometimes chewing a pinch of spices from a pouch, or again saying to Vaishnavcharan with a nudge: "Look here. Sometimes I feel like this, too." Presently Vaishnavcharan arose to declare himself in total agreement with the view of the Brahmani. He declared that Sri Ramakrishna had undoubtedly experienced mahabhava and that this was the certain sign of the rare manifestation of God in a man. The people assembled
   there, especially the officers of the temple garden, were struck dumb. Sri Rama- krishna said to Mathur, like a boy: "Just fancy, he too says so! Well, I am glad to learn that after all it is not a disease."
  --
   Gauri said: "I feel it in my heart and I have the scriptures on my side. I am ready to prove it to anyone who challenges me."
   "Well," Sri Ramakrishna said, "it is you who say so; but, believe me, I know nothing about it."
  --
   Sri Ramakrishna was a learner all his life. He often used to quote a proverb to his disciples: "Friend, the more I live the more I learn." When the excitement created by the Brahmani's declaration was over, he set himself to the task of practising spiritual disciplines according to the traditional methods laid down in the Tantra and Vaishnava scriptures. Hitherto he had pursued his spiritual ideal according to the promptings of his own mind and heart. Now he accepted the Brahmani as his guru and set foot on the traditional highways.
   --- TANTRA
  --
   There are two stages of bhakti. The first is known as vaidhi-bhakti, or love of God qualified by scriptural injunctions. For the devotees of this stage are prescribed regular and methodical worship, hymns, prayers, the repetition of God's name, and the chanting of His glories. This lower bhakti in course of time matures into para-bhakti, or supreme devotion, known also as prema, the most intense form of divine love. Divine love is an end in itself. It exists potentially in all human hearts, but in the case of bound creatures it is misdirected to earthly objects.
   To develop the devotee's love for God, Vaishnavism humanizes God. God is to be regarded as the devotee's Parent, Master, Friend, Child, Husband, or Sweetheart, each succeeding relationship representing an intensification of love. These bhavas, or attitudes toward God, are known as santa, dasya, sakhya, vatsalya, and madhur. The rishis of the Vedas, Hanuman, the cow-herd boys of Vrindavan, Rama's mother Kausalya, and Radhika, Krishna's sweetheart, exhibited, respectively, the most perfect examples of these forms. In the ascending scale the-glories of God are gradually forgotten and the devotee realizes more and more the intimacy of divine communion. Finally he regards himself as the mistress of his Beloved, and no artificial barrier remains to separate him from his Ideal. No social or moral obligation can bind to the earth his soaring spirit. He experiences perfect union with the Godhead. Unlike the Vedantist, who strives to transcend all varieties of the subject-object relationship, a devotee of the Vaishnava path wishes to retain both his own individuality and the personality of God. To him God is not an intangible Absolute, but the Purushottama, the Supreme Person.
  --
   Sri Ramakrishna, as the monkey Hanuman, had already worshipped God as his Master. Through his devotion to Kali he had worshipped God as his Mother. He was now to take up the other relationships prescribed by the Vaishnava scriptures.
   --- RAMLALA
  --
   The Vaishnava scriptures advise one to propitiate Radha and obtain her grace in order to realize Sri Krishna. So the tortured devotee now turned his prayer to her. Within a short time he enjoyed her blessed vision. He saw and felt the figure of Radha disappearing into his own body.
   He said later on: "It is impossible to describe the heavenly beauty and sweetness of Radha. Her very appearance showed that she had completely forgotten herself in her passionate attachment to Krishna. Her complexion was a light yellow."
  --
   One day, listening to a recitation of the Bhagavata on the verandah of the Radhakanta temple, he fell into a divine mood and saw the enchanting form of Krishna. He perceived the luminous rays issuing from Krishna's Lotus Feet in the form of a stout rope, which touched first the Bhagavata and then his own chest, connecting all three — God, the scripture, and the devotee. "After this vision", he used to say, "I came to realize that Bhagavan, Bhakta, and Bhagavata — God, Devotee, and scripture — are in reality one and the same."
   --- VEDANTA
  --
   From now on Sri Ramakrishna began to seek the company of devotees and holy men. He had gone through the storm and stress of spiritual disciplines and visions. Now he realized an inner calmness and appeared to others as a normal person. But he could not bear the company of worldly people or listen to their talk. Fortunately the holy atmosphere of Dakshineswar and the liberality of Mathur attracted monks and holy men from all parts of the country. Sadhus of all denominations — monists and dualists, Vaishnavas and Vedantists, Saktas and worshippers of Rama — flocked there in ever increasing numbers. Ascetics and visionaries came to seek Sri Ramakrishna's advice. Vaishnavas had come during the period of his Vaishnava sadhana, and Tantriks when he practised the disciplines of Tantra. Vedantists began to arrive after the departure of Totapuri. In the room of Sri Ramakrishna, who was then in bed with dysentery, the Vedantists engaged in scriptural discussions, and, forgetting his own physical suffering, he solved their doubts by referring directly to his own experiences. Many of the visitors were genuine spiritual souls, the unseen pillars of Hinduism, and their spiritual lives were quickened in no small measure by the sage of Dakshineswar. Sri Ramakrishna in turn learnt from them anecdotes concerning the ways and the conduct of holy men, which he subsequently narrated to his devotees and disciples. At his request Mathur provided him with large stores of food-stuffs, clothes, and so forth, for distribution among the wandering monks.
   "Sri Ramakrishna had not read books, yet he possessed an encyclopedic knowledge of religions and religious philosophies. This he acquired from his contacts with innumerable holy men and scholars. He had a unique power of assimilation; through meditation he made this knowledge a part of his being. Once, when he was asked by a disciple about the source of his seemingly inexhaustible knowledge, he replied; "I have not read; but I have heard the learned. I have made a garland of their knowledge, wearing it round my neck, and I have given it as an offering at the feet of the Mother."
   Sri Ramakrishna used to say that when the flower blooms the bees come to it for honey of their own accord. Now many souls began to visit Dakshineswar to satisfy their spiritual hunger. He, the devotee and aspirant, became the Master. Gauri, the great scholar who had been one of the first to proclaim Sri Ramakrishna an Incarnation of God, paid the Master a visit in 1870 and with the Master's blessings renounced the world. Narayan Shastri, another great pundit, who had mastered the six systems of Hindu philosophy and had been offered a lucrative post by the Maharaja of Jaipur, met the Master and recognized in him one who had realized in life those ideals which he himself had encountered merely in books. Sri Ramakrishna initiated Narayan Shastri, at his earnest request, into the life of sannyas. Pundit Padmalochan, the court pundit of the Maharaja of Burdwan, well known for his scholarship in both the Vedanta and the Nyaya systems of philosophy, accepted the Master as an Incarnation of God. Krishnakishore, a Vedantist scholar, became devoted to the Master. And there arrived Viswanath Upadhyaya, who was to become a favourite devotee; Sri Ramakrishna always addressed him as "Captain". He was a high officer of the King of Nepal and had received the title of Colonel in recognition of his merit. A scholar of the Gita, the Bhagavata, and the Vedanta philosophy, he daily performed the worship of his Chosen Deity with great devotion. "I have read the Vedas and the other scriptures", he said. "I have also met a good many monks and devotees in different places. But it is in Sri Ramakrishna's presence that my spiritual yearnings have been fulfilled. To me he seems to be the embodiment of the truths of the scriptures."
   The Knowledge of Brahman in nirvikalpa samadhi had convinced Sri Ramakrishna that the gods of the different religions are but so many readings of the Absolute, and that the Ultimate Reality could never be expressed by human tongue. He understood that all religions lead their devotees by differing paths to one and the same goal. Now he became eager to explore some of the alien religions; for with him understanding meant actual experience.
  --
   The party entered holy Benares by boat along the Ganges. When Sri Ramakrishna's eyes fell on this city of Siva, where had accumulated for ages the devotion and piety of countless worshippers, he saw it to be made of gold, as the scriptures declare. He was visibly moved. During his stay in the city he treated every particle of its earth with utmost respect. At the Manikarnika Ghat, the great cremation ground of the city, he actually saw Siva, with ash-covered body and tawny matted hair, serenely approaching each funeral pyre and breathing into the ears of the corpses the mantra of liberation; and then the Divine Mother removing from the dead their bonds. Thus he realized the significance of the scriptural statement that anyone dying in Benares attains salvation through the grace of Siva. He paid a visit to Trailanga Swami, the celebrated monk, whom he later declared to be a real paramahamsa, a veritable image of Siva.
   Sri Ramakrishna visited Allahabad, at the confluence of the Ganges and the Jamuna, and then proceeded to Vrindavan and Mathura, hallowed by the legends, songs, and dramas about Krishna and the gopis. Here he had numerous visions and his heart overflowed with divine emotion. He wept and said: "O Krishna! Everything here is as it was in the olden days. You alone are absent." He visited the great woman saint, Gangamayi, regarded by Vaishnava devotees as the reincarnation of an intimate attendant of Radha. She was sixty years old and had frequent trances. She spoke of Sri Ramakrishna as an incarnation of Radha. With great difficulty he was persuaded to leave her.
  --
   Balaram Bose came of a wealthy Vaishnava family. From his youth he had shown a deep religious temperament and had devoted his time to meditation, prayer, and the study of the Vaishnava scriptures. He was very much impressed by Sri Ramakrishna even at their first meeting. He asked Sri Ramakrishna whether God really existed and, if so, whether a man could realize Him. The Master said: "God reveals Himself to the devotee who thinks of Him as his nearest and dearest. Because you do not draw response by praying to Him once, you must not conclude that He does not exist. Pray to God, thinking of Him as dearer than your very self. He is much attached to His devotees. He comes to a man even before He is sought. There is none more intimate and affectionate than God." Balaram had never before heard God spoken of in such forceful words; every one of the words seemed true to him. Under the Master's influence he outgrew the conventions of the Vaishnava worship and became one of the most beloved of the disciples. It was at his home that the Master slept whenever he spent a night in Calcutta.
   --- MAHENDRA OR M.
  --
   Mahimacharan and Pratap Hazra were two devotees outstanding for their pretentiousness and idiosyncrasies. But the Master showed them his unfailing love and kindness, though he was aware of their shortcomings. Mahimacharan Chakravarty had met the Master long before the arrival of the other disciples. He had had the intention of leading a spiritual life, but a strong desire to acquire name and fame was his weakness. He claimed to have been initiated by Totapuri and used to say that he had been following the path of knowledge according to his guru's instructions. He possessed a large library of English and Sanskrit books. But though he pretended to have read them, most of the leaves were uncut. The Master knew all his limitations, yet enjoyed listening to him recite from the Vedas and other scriptures. He would always exhort Mahima to meditate on the meaning of the scriptural texts and to practise spiritual discipline.
   Pratap Hazra, a middle-aged man, hailed from a village near Kamarpukur. He was not altogether unresponsive to religious feelings. On a moment's impulse he had left his home, aged mother, wife, and children, and had found shelter in the temple garden at Dakshineswar, where he intended to lead a spiritual life. He loved to argue, and the Master often pointed him out as an example of barren argumentation. He was hypercritical of others and cherished an exaggerated notion of his own spiritual advancement. He was mischievous and often tried to upset the minds of the Master's young disciples, criticizing them for their happy and joyous life and asking them to devote their time to meditation. The Master teasingly compared Hazra to Jatila and Kutila, the two women who always created obstructions in Krishna's sport with the gopis, and said that Hazra lived at Dakshineswar to "thicken the plot" by adding complications.
  --
   The Europeanized Kristodas Pal did not approve of the Master's emphasis on renunciation and said; "Sir, this cant of renunciation has almost ruined the country. It is for this reason that the Indians are a subject nation today. Doing good to others, bringing education to the door of the ignorant, and above all, improving the material conditions of the country — these should be our duty now. The cry of religion and renunciation would, on the contrary, only weaken us. You should advise the young men of Bengal to resort only to such acts as will uplift the country." Sri Ramakrishna gave him a searching look and found no divine light within, "You man of poor understanding!" Sri Ramakrishna said sharply. "You dare to slight in these terms renunciation and piety, which our scriptures describe as the greatest of all virtues! After reading two pages of English you think you have come to know the world! You appear to think you are omniscient. Well, have you seen those tiny crabs that are born in the Ganges just when the rains set in? In this big universe you are even less significant than one of those small creatures. How dare you talk of helping the world? The Lord will look to that. You haven't the power in you to do it." After a pause the Master continued: "Can you explain to me how you can work for others? I know what you mean by helping them. To feed a number of persons, to treat them when they are sick, to construct a road or dig a well — isn't that all? These, are good deeds, no doubt, but how trifling in comparison with the vastness of the universe! How far can a man advance in this line? How many people can you save from famine? Malaria has ruined a whole province; what could you do to stop its onslaught? God alone looks after the world. Let a man first realize Him. Let a man get the authority from God and be endowed with His power; then, and then alone, may he think of doing good to others. A man should first be purged of all egotism. Then alone will the Blissful Mother ask him to work for the world." Sri Ramakrishna mistrusted philanthropy that presumed to pose as charity. He warned people against it. He saw in most acts of philanthropy nothing but egotism, vanity, a desire for glory, a barren excitement to kill the boredom of life, or an attempt to soothe a guilty conscience. True charity, he taught, is the result of love of God — service to man in a spirit of worship.
   --- MONASTIC DISCIPLES
  --
   Harinath had led the austere life of a brahmachari even from his early boyhood — bathing in the Ganges every day, cooking his own meals, waking before sunrise, and reciting the Gita from memory before leaving bed. He found in the Master the embodiment of the Vedanta scriptures. Aspiring to be a follower of the ascetic Sankara, he cherished a great hatred for women. One day he said to the Master that he could not allow even small girls to come near him. The Master scolded him and said: "You are talking like a fool. Why should you hate women? They are the manifestations of the Divine Mother. Regard them as your own mother and you will never feel their evil influence. The more you hate them, the more you will fall into their snares." Hari said later that these words completely changed his attitude toward women.
   The Master knew Hari's passion for Vedanta. But he did not wish any of his disciples to become a dry ascetic or a mere bookworm. So he asked Hari to practise Vedanta in life by giving up the unreal and following the Real. "But it is not so easy", Sri Ramakrishna said, "to realize the illusoriness of the world. Study alone does not help one very much. The grace of God is required. Mere personal effort is futile. A man is a tiny creature after all, with very limited powers. But he can achieve the impossible if he prays to God for His grace." Whereupon the Master sang a song in praise of grace. Hari was profoundly moved and shed tears. Later in life Hari achieved a wonderful synthesis of the ideals of the Personal God and the Impersonal Truth.
  --
   Gangadhar, Harinath's friend, also led the life of a strict brahmachari, eating vegetarian food cooked by his own hands and devoting himself to the study of the scriptures. He met the Master in 1884 and soon became a member of his inner circle. The Master praised his ascetic habit and attributed it to the spiritual disciplines of his past life. Gangadhar became a close companion of Narendra.
   --- HARIPRASANNA
  --
   Kaliprasad visited the Master toward the end of 1883. Given to the practice of meditation and the study of the scriptures. Kali was particularly interested in yoga. Feeling the need of a guru in spiritual life, he came to the Master and was accepted as a disciple. The young boy possessed a rational mind and often felt sceptical about the Personal God. The Master said to him: "Your doubts will soon disappear. Others, too, have passed through such a state of mind. Look at Naren. He now weeps at the names of Radha and Krishna." Kali began to see visions of gods and goddesses. Very soon these disappeared and in meditation he experienced vastness, infinity, and the other attributes of the Impersonal Brahman.
   --- SUBODH
  --
   It took the group only a few days to become adjusted to the new environment. The Holy Mother, assisted by Sri Ramakrishna's niece, Lakshmi Devi, and a few woman devotees, took charge of the cooking for the Master and his attendants. Surendra willingly bore the major portion of the expenses, other householders contributing according to their means. Twelve disciples were constant attendants of the Master: Narendra, Rakhal, Baburam, Niranjan, Jogin, Latu, Tarak, the-elder Gopal, Kali, Sashi, Sarat, and the younger Gopal. Sarada, Harish, Hari, Gangadhar, and Tulasi visited the Master from time to time and practised sadhana at home. Narendra, preparing for his law examination, brought his books to the garden house in order to continue his studies during the infrequent spare moments. He encouraged his brother disciples to intensify their meditation, scriptural studies, and other spiritual disciplines. They all forgot their relatives and their
   worldly duties.
  --
   Pundit Shashadhar one day suggested to the Master that the latter could remove the illness by concentrating his mind on the throat, the scriptures having declared that yogis had power to cure themselves in that way. The Master rebuked the pundit. "For a scholar like you to make such a proposal!" he said. "How can I withdraw the mind from the Lotus Feet of God and turn it to this worthless cage of flesh and blood?" "For our sake at least", begged Narendra and the other disciples. "But", replied Sri Ramakrishna, do you think I enjoy this suffering? I wish to recover, but that depends on the Mother."
   NARENDRA: "Then please pray to Her. She must listen to you."

0.00 - The Book of Lies Text, #The Book of Lies, #Aleister Crowley, #Philosophy
    what we have said above, and the scriptural image of
    tongues is introduced.

0.00 - THE GOSPEL PREFACE, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
  An appropriate allusion indeed! Bhagavata, the great scripture that has given the word of Sri Krishna to mankind, was composed by the Sage Vysa under similar circumstances. When caught up in a mood of depression like that of M, Vysa was advised by the sage Nrada that he would gain peace of mind only qn composing a work exclusively devoted to the depiction of the Lord's glorious attributes and His teachings on Knowledge and Devotion, and the result was that the world got from Vysa the invaluable gift of the Bhagavata Purana depicting the life and teachings of Sri Krishna.
  From the mental depression of the modem Vysa, the world has obtained the Kathmrita (Bengali Edition) the Gospel of Sri Ramakrishna in English.
  --
  Besides the prompting of his inherent instinct, the main inducement for M. to keep this diary of his experiences at Dakshineswar was his desire to provide himself with a means for living in holy company at all times. Being a school teacher, he could be with the Master only on Sundays and other holidays, and it was on his diary that he depended for 'holy company' on other days. The devotional scriptures like the Bhagavata say that holy company is the first and most important means for the generation and growth of devotion. For, in such company man could hear talks on spiritual matters and listen to the glorification of Divine attri butes, charged with the fervour and conviction emanating from the hearts of great lovers of God. Such company is therefore the one certain means through which Sraddha (Faith), Rati (attachment to God) and Bhakti (loving devotion) are generated. The diary of his visits to Dakshineswar provided M. with material for re-living, through reading and contemplation, the holy company he had had earlier, even on days when he was not able to visit Dakshineswar. The wealth of details and the vivid de scription of men and things in the midst of which the sublime conversations are set, provide excellent material to re-live those experiences for any one with imaginative powers. It was observed by M.'s disciples and admirers that in later life also whenever he was free or alone, he would be pouring over his diary, transporting himself on the wings of imagination to the glorious days he spent at the feet of the Master.
  During the Master's lifetime M. does not seem to have revealed the contents of his diary to any one. There is an unconfirmed tradition that when the Master saw him taking notes, he expressed apprehension at the possibility of his utilising these to publicise him like Keshab Sen; for the Great Master was so full of the spirit of renunciation and humility that he disliked being lionised. It must be for this reason that no one knew about this precious diary of M. for a decade until he brought out selections from it as a pamphlet in English in 1897 with the Holy Mother's blessings and permission. The Holy Mother, being very much pleased to hear parts of the diary read to her in Bengali, wrote to M.: "When I heard the Kathmrita, (Bengali name of the book) I felt as if it was he, the Master, who was saying all that." ( Ibid Part I. P 37.)
  --
  And Swamiji added a post script to the letter: "Socratic dialogues are Plato all over you are entirely hidden. Moreover, the dramatic part is infinitely beautiful. Everybody likes it here or in the West." Indeed, in order to be unknown, Mahendranath had used the pen-name M., under which the book has been appearing till now. But so great a book cannot remain obscure for long, nor can its author remain unrecognised by the large public in these modern times. M. and his book came to be widely known very soon and to meet the growing demand, a full-sized book, Vol. I of the Gospel, translated by the author himself, was published in 1907 by the Brahmavadin Office, Madras. A second edition of it, revised by the author, was brought out by the Ramakrishna Math, Madras in December 1911, and subsequently a second part, containing new chapters from the original Bengali, was published by the same Math in 1922. The full English translation of the Gospel by Swami Nikhilananda appeared first in 1942.
  In Bengali the book is published in five volumes, the first part having appeared in 1902
  --
  Though a very well versed scholar in the Upanishads, Git and the philosophies of the East and the West, all his discussions and teachings found their culmination in the life and the message of Sri Ramakrishna, in which he found the real explanation and illustration of all the scriptures. Both consciously and unconsciously, he was the teacher of the Kathmrita the nectarine words of the Great Master.
  Though a much-sought-after spiritual guide, an educationist of repute, and a contemporary and close associate of illustrious personages like Sri Ramakrishna, Swami Vivekananda, Keshab Chander Sen and Iswar Chander Vidysgar, he was always moved by the noble humanity of a lover of God, which consists in respecting the personalities of all as receptacles of the Divine Spirit. So he taught without the consciousness of a teacher, and no bar of superiority stood in the way of his doing the humblest service to his students and devotees. "He was a commission of love," writes his close devotee, Swami Raghavananda, "and yet his soft and sweet words would pierce the stoniest heart, make the worldly-minded weep and repent and turn Godwards."

01.04 - The Poetry in the Making, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   Genius had to be generally more or less unconscious in the past, because the instrument was not ready, was clogged as it were with its own lower grade movements; the higher inspiration had very often to bypass it, or rob it of its serviceable materials without its knowledge, in an almost clandestine way. Wherever it was awake and vigilant, we have seen it causing a diminution in the poetic potential. And yet even so, it was being prepared for a greater role, a higher destiny it is to fulfil in the future. A conscious and full participation of a refined and transparent and enriched instrument in the delivery of superconscious truth and beauty will surely mean not only a new but the very acme of aesthetic creation. We thus foresee the age of spiritual art in which the sense of creative beauty in man will find its culmination. Such an art was only an exception, something secondary or even tertiary, kept in the background, suggested here and there as a novel strain, called "mystic" to express its unfamiliar nature-unless, of course, it was openly and obviously scriptural and religious.
   I have spoken of the source of inspiration as essentially and originally being a super-consciousness or over-consciousness. But to be more precise and accurate I should add another source, an inner consciousness. As the super-consciousness is imaged as lying above the normal consciousness, so the inner consciousness may be described as lying behind or within it. The movement of the inner consciousness has found expression more often and more largely than that of over-consciousness in the artistic creation of the past : and that was in keeping with the nature of the old-world inspiration, for the inspiration that comes from the inner consciousness, which can be considered as the lyrical inspiration, tends to be naturally more "spontaneous", less conscious, since it does not at all go by the path of the head, it evades that as much as possible and goes by the path of the heart.

01.04 - The Secret Knowledge, #Savitri, #Sri Aurobindo, #Integral Yoga
  Its signs stare at us like an unknown script,
  As if appeared screened by a foreign tongue
  --
  Late will he know, opening the mystic script,
  Whether to a blank port in the Unseen

01.05 - The Yoga of the King - The Yoga of the Spirits Freedom and Greatness, #Savitri, #Sri Aurobindo, #Integral Yoga
  Abolished were the scripts of destiny.
  There was no small death-hunted creature more,

0.10 - Letters to a Young Captain, #Some Answers From The Mother, #The Mother, #Integral Yoga
  "Experience in thy soul the truth of the scripture; afterwards, if thou wilt, reason
  and state thy experience intellectually and even then distrust thy statement; but distrust

01.11 - Aldous Huxley: The Perennial Philosophy, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   There is a beautiful quotation from the Chinese sage, Wu Ch'ng-n, regarding the doubtful utility of written scriptures:
   "'Listen to this!' shouted Monkey. 'After all the trouble we had getting here from China, and after you specially ordered that we were to be given the scriptures, Ananda and Kasyapa made a fraudulent delivery of goods. They gave us blank copies to take away; I ask you, what is the good of that to us?' 'You needn't shout,' said the Buddha, smiling. 'As a matter of fact, it is such blank scrolls as these that are the true scriptures. But I quite see that the people of China are too foolish and ignorant to believe this, so there is nothing for it but to give them copies with some writing on.' "
   A sage can smile and smile delightfully! The parable illustrates the well-known Biblical phrase, 'the letter killeth, but the spirit giveth life'. The monkey is symbolical of the ignorant, arrogant, fussy human mind. There is another Buddhistic story about the monkey quoted in the book and it is as delightful; but being somewhat long, we cannot reproduce it here. It tells how the mind-monkey is terribly agile, quick, clever, competent, moving lightning-fast, imagining that it can easily go to the end of the world, to Paradise itself, to Brahmic status. But alas! when he thought he was speeding straight like a rocket or an arrow and arrive right at the target, he found that he was spinning like a top at the same spot, and what he very likely took to be the very fragrance of the topmost supreme heaven was nothing but the aroma of his own urine.

0 1958-11-27 - Intermediaries and Immediacy, #Agenda Vol 01, #unset, #Zen
   For example, one thing had always appeared unimportant to me in actionintermediaries between the spiritualized individual being, the conscious soul, and the Supreme. According to my personal experience, it had always seemed to me that if one is exclusively turned towards the Supreme in all ones actions and expresses Him directly, whatever is to be done is done automatically. For example, if you are always open and if at each second you consciously want to express only what the Supreme Lord wants to be expressed, it is done automatically. But with all that I have learned about pujas, about certain scriptures and certain rituals as well, the necessity for a process has become very clear to me. Its the same as in physical life; in physical life, everything needs a process, as we know, and it is the knowledge of processes that constitutes physical science. Similarly, in a more occult working, the knowledge and especially the RESPECT for the process seem to be much more important than I had first thought.
   And when I studied this, when I looked at this science of processes, of intermediaries, suddenly I clearly understood the working of karma, which I had not understood before. I had worked and intervened quite often to change someones karma, but sometimes I had to wait, without exactly knowing why the result was not immediate. I simply used to wait without worrying about the reasons for this slowness or delay. Thats how it was. And generally it ended, as I said, with the exact vision of the karmas source, its initial cause; and scarcely would I have this vision when the Power would come, and the thing would be dissolved. But I didnt bother about finding out why it was like that.

0 1961-03-11, #Agenda Vol 02, #The Mother, #Integral Yoga
   In my view, all these old scriptures and ancient traditions have a graduated content (gesture showing different levels of understanding), and according to the needs of the epoch and the people, one symbol or another was drawn upon. But a time comes when one goes beyond these things and sees them from what Sri Aurobindo calls the other hemisphere, where one realizes that they are only modes of expression to put one in contacta kind of bridge or link between the lower way of seeing and the higher way of knowing.
   A time comes when all these disputesAh, no, this is like this, that is like thatseem so silly, so silly! And there is nothing more comical than this spontaneous reply so many people give: Oh, thats impossible! Because with even the most rudimentary intellectual development, you would know you couldnt even think of something if it werent possible!

0 1962-01-27, #Agenda Vol 03, #The Mother, #Integral Yoga
   I dont know if those experiences have been described in traditional scriptures. I havent read any I know nothing of Indian literature, nothing at all. I only know what Sri Aurobindo has said, plus a few odds and ends from here and there. And each time I found myself faced with their vocabulary oh, it really puts you off!
   You speak of exteriorizationcouldnt you show me a simple way of learning to do it?

0 1962-02-13, #Agenda Vol 03, #The Mother, #Integral Yoga
   But long ago there was a knowledge like thatall the ancient scriptures mention it.
   I believe so. I believe so.

0 1963-05-11, #Agenda Vol 04, #The Mother, #Integral Yoga
   The deeper significance of figures There are countless traditions, countless scriptures which I took great care not to follow. But the deeper significance of figures came to me in Tlemcen, when I was in the Overmind. I dont remember the names Thon used to give to those various worlds, but it was a world that corresponded to the highest and most luminous regions of Sri Aurobindos Overmind. It was above, just above the gods region. And it was something in accord with the Overmind creation the earth under the gods influence. That was where figures took on a living meaning for menot a mental speculation: a living meaning. That was where Madame Thon recognized me, because of the formation of twelve pearls she saw above my head; and she told me, You are that because you have this. Only that can have this! (Mother laughs) It hadnt even remotely occurred to me, thank God!
   But figures are alive for me. They have a concrete reality.

0 1963-08-24, #Agenda Vol 04, #The Mother, #Integral Yoga
   But I have no idea whether the false appearance wouldnt still exist for those not ready to see the true thing. At any rate, it would be an intermediary period: those whose eyes were open would be able to see (what is called open eyes in the scriptures), they would be able to see; and they would be able to see not through effort or seeking, but the thing would impose itself on them. While those whose eyes were not open for a time, at least, it would be that way, they wouldnt seethey would still see the old appearance. The two may be simultaneous.
   I SAW myself the way I am, and quite obviously (Mother laughs) my body seems to have been shrunk to enable me to dominate it and exceed it on all sides without difficulty! Thats my impression, something thats shrunk! The English word is very expressive (Mother laughs).

0 1963-10-16, #Agenda Vol 04, #The Mother, #Integral Yoga
   You know that for a long time he said, I and the Mother, the Mother and I, are one. Of course, in the scriptures too its like that! But it was reported to me (I dont attach much importance to it because people twist everything), it was reported to me that he said several times, Its the Mother speaking to you through me, and I talked nonsense! (Laughing) Thats the trouble. If at least I said some very wise things
   Thats serious.

0 1964-02-05, #Agenda Vol 05, #The Mother, #Integral Yoga
   96Experience in thy soul the truth of the scripture; afterwards, if thou wilt, reason and state thy experience intellectually and even then distrust thy statement; but distrust never thy experience.
   It doesnt require any explanations.
   That is to say, to children you should explain that WHATEVER the statement, WHATEVER the scripture, they are always a step-down from the experience, they are always inferior to the experience.
   Some people need to know this!
  --
   98Revelation is the direct sight, the direct hearing or inspired memory of Truth, drishti, shruti, smriti; it is the highest experience and always accessible to renewed experience. Not because God spoke it, but because the soul saw it, is the word of the scriptures our supreme authority.
   I presume this is in reply to the biblical belief in Gods Commandments received by Moses, which the Lord is supposed to have uttered Himself and Moses is supposed to have heardits a roundabout way (Mother laughs) to say its not possible!
  --
   Now, I dont know if Sri Aurobindo had in mind the Indian scriptures. The Upanishads, then? Or the Vedas but no, the Vedas were oral.
   They BECAME scriptures.
   With God knows what distortion.
   Not too much, since they were repeated with all the intonations. Among all the scriptures, theyre probably the least distorted.
   There were Chinese scriptures, too.
   But more and more, my experience is that revelation (it comes, of course), revelation is a thing that can be applied universally, but which, in its form, is always personalalways personal.

0 1965-12-18, #Agenda Vol 06, #The Mother, #Integral Yoga
   In the old scriptures they used to compare that with a dogs twisted tail. And it is truly like that, its a sort of TWIST that you try to straighten out and which goes back to its shape automatically, idioticallyyou untwist it, it twists up again; you reject it, it comes again. Its extremely interesting, but its miserable. Miserable. And all illnesses are like that, all, all of them, whatever their external form. The external form is only one way of being of the SAME THINGbecause things are arranged in every possible way (there arent two identical things and everything is arranged differently), so then, some follow similar twists, and thats what doctors call such and such an illness. But if they are sincere, they will tell you, There arent two like illnesses.
   But what toil it is! I am fighting with that at the moment, its a fistfight.

0 1966-02-11, #Agenda Vol 07, #The Mother, #Integral Yoga
   As if lost remnants of forgotten light, Before her mind there fled with trailing wings Dimmed revelations and delivering words, Emptied of their mission and their strength to save, The messages of the evangelist gods, Voices of prophets, scripts of vanishing creeds.
   (X.IV.642)

0 1966-05-18, #Agenda Vol 07, #The Mother, #Integral Yoga
   Its the same with the gods, mon petit, the same thing! The relationship with all those beings of the Overmind, with all those gods, the form those relationships take depends on the human consciousness. You can be The scriptures say, Man is cattle for the gods but thats if man ACCEPTS the role of cattle. There is in the essence of human nature a sovereignty over all those things which is spontaneous and natural, when its not warped by a certain number of ideas and a certain amount of so-called knowledge.
   We could say that man is the all-powerful master of all the states of being of his nature, but that he has forgotten to be so.

0 1966-11-26, #Agenda Vol 07, #The Mother, #Integral Yoga
   Its the first time this year it has happened to me. Previously, it used to happen fairly often, but its the first time this year. It shows that, all the same, things are improving. Oh, but it was terrible, people cant imagine what it is! It takes hold of everyone and everybody, every circumstance and everything, and it gives shape to disintegrationquite like this Gentleman (I think hes the one!), quite like him. But it doesnt have the poetic form [of Savitri], of course, its not a poet: it has all the meanness of life. And it insists on that a great deal. These last few days it insisted on it a great deal. I said to myself, See, all that is written and said is always in a realm of beauty and harmony and greatness, and, anyway, the problem is put with dignity; but as soon as it becomes quite practical and material, its so petty, so mean, so narrow, so ugly! Thats the proof. When you get out of it, its all right, you can face all problems, but when you come down here, its so ugly, so petty, so miserable. We are such slaves to our needs, oh! For one hour, two hours, you hold on, and after And its true, physical life is uglynot everywhere, but anyway I always think of plants and flowers: thats really lovely, its free from that; but human life is so sordid, with such crude and imperious needsits so sordid. Its only when you begin to live in a slightly superior vision that you become free from that; in all the scriptures, very few people accept the sordidness of life. And of course, thats what this Gentleman insists on. I said, Very well. This bodys answer is very simple: We certainly arent anxious that life should continue as it is. It doesnt find it very pretty. But we conceive of a lifea life as objective as our material lifewhich wouldnt have all these sordid needs, which would be more harmonious and spontaneous. Thats what we want. But he says its impossiblewe have been told its not only possible but certain. So theres the battle.
   Then comes the great argument: Yes, yes, one day it will be, but when? For the time being you are still swamped in all this and you plainly see it cant change. It will go on and on. In millennia, yes, it will be. Thats the ultimate argument. He no longer denies the possibility, he says, All right, because you have caught hold of something, youre hoping to realize it now, but thats childishness.

0 1968-11-02, #Agenda Vol 09, #The Mother, #Integral Yoga
   There are some vague scriptures that mention it. But theyre regarded as crank esotericism.
   (silence)

02.01 - The World War, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
   Modern thinkers do not speak of the Asura the Demon or the Titanalthough the religiously minded sometimes refer to the Anti-Christ; but the real, the inner significance of the terms, is lost to a mind nurtured in science and empiricism; they are considered as more or less imaginative symbols for certain undesirable qualities of nature and character. Yet some have perceived and expressed the external manifestation and activities of the Asura in a way sufficient to open men's eyes to the realities involved. Thus they have declared that the present war is a conflict between two ideals, to be sure, but also that the two ideals are so different that they do not belong to the same plane or order; they belong to different planes and different orders. On one side the whole endeavour is to bring man down from the level to which he has arisen in the course of evolution to something like his previous level and to keep him imprisoned there. That this is really their aim, the protagonists and partisans themselves have declared frankly and freely and loudly enough, without any hesitation or reservation. Hitler's 'Mein Kampf' has become the scripture of the New Order; it has come with a more categorical imperative, a more supernal authority than the Veda, the Bible or the Koran.
   When man was a dweller of the forest,a jungle man,akin to his forbear the ape, his character was wild and savage, his motives and impulsions crude, violent, egoistic, almost wholly imbedded in, what we call, the lower vital level; the light of the higher intellect and intelligence had not entered into them. Today there is an uprush of similar forces to possess and throw man back to a similar condition. This new order asks only one thing of man, namely, to be strong and powerful, that is to say, fierce, ruthless, cruel and regimented. Regimentation can be said to be the very characteristic of the order, the regimentation of a pack of wild dogs or wolves. A particular country, nation or raceit is Germany in Europe and, in her wake, Japan in Asiais to be the sovereign nation or master race (Herrenvolk); the rest of mankindo ther countries and peoplesshould be pushed back to the status of servants and slaves, mere hewers of wood and drawers of water. What the helots were in ancient times, what the serfs were in the mediaeval ages, and what the subject peoples were under the worst forms of modern imperialism, even so will be the entire mankind under the new overlordship, or something still worse. For whatever might have been the external conditions in those ages and systems, the upward aspirations of man were never doubted or questioned they were fully respected and honoured. The New Order has pulled all that down and cast them to the winds. Furthermore in the new regime, it is not merely the slaves that suffer in a degraded condition, the masters also, as individuals, fare no better. The individual here has no respect, no freedom or personal value. This society or community of the masters even will be like a bee-hive or an ant-hill; the individuals are merely functional units, they are but screws and bolts and nuts and wheels in a huge relentless machinery. The higher and inner realities, the spontaneous inspirations and self-creations of a free soulart, poetry, literaturesweetness and light the good and the beautifulare to be banished for ever; they are to be regarded as things of luxury which enervate the heart, diminish the life-force, distort Nature's own virility. Man perhaps would be the worshipper of Science, but of that Science which brings a tyrannical mastery over material Nature, which serves to pile up tools and instruments, arms and armaments, in order to ensure a dire efficiency and a grim order in practical life.

02.02 - Rishi Dirghatama, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   Now in conclusion I will just speak of the fundamental vision of the rishi. His entire realisation, the whole Veda of his life, he has, it appears, pressed into one single k We have heard it said that the entire range of all scriptures is epitomised in the Gita and the Gita' itself is epitomised in one slokasarvadharmn parityajya... Even so we may say that Rishi Dirghatama has summarised his experience, at least the fundamental basic one, and put it into a sutra. It is the famous k with which he opens his long hymn to Surya:
   Lo, this delightful ancient Priest and Summoner; he has a second brother who is the devourer. There is a third brother with a dazzling luminous facetthere I saw the Master of the worlds along with his seven sons.8

02.06 - The Kingdoms and Godheads of the Greater Life, #Savitri, #Sri Aurobindo, #Integral Yoga
  A script of acts, a song of conscious forms
  Burdened with meanings fugitive from thought's grasp
  --
  The body's actions are a minor script,
  The surface rendering of a life within.
  --
  In her illumined script, her fanciful
  Translation of God's pure original text,
  He thinks to read the scripture Wonderful,
  Hieratic key to unknown beatitudes.
  But the Word of Life is hidden in its script,
  The chant of Life has lost its divine note.

02.07 - The Descent into Night, #Savitri, #Sri Aurobindo, #Integral Yoga
    He armed untruth with scripture and the Law;
    He deceived with wisdom, with virtue slew the soul
  --
    A frame of ethics knobbed with scriptural rules
    Or a theory passionately believed and praised

02.08 - The World of Falsehood, the Mother of Evil and the Sons of Darkness, #Savitri, #Sri Aurobindo, #Integral Yoga
  Reading by opposite signs the eternal script,
  A sorceress reversing life's God-frame.
  --
  The diamond script of the Imperishable,
  Inscribed on the dim heart of fallen things

02.10 - The Kingdoms and Godheads of the Little Mind, #Savitri, #Sri Aurobindo, #Integral Yoga
  Tracing the scriptural verses of her laws
  The daedal of her patterned arabesques,

02.11 - The Kingdoms and Godheads of the Greater Mind, #Savitri, #Sri Aurobindo, #Integral Yoga
  Illumined originals of the shadowy script
  In which our sight transcribes the ideal Ray,
  --
  To read the letters of the cosmic script
  And study the body of the cosmic self

02.12 - Mysticism in Bengali Poetry, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   Are tracing their script on our forehead.
   This day, O Mother, all the terrestrial illuminations

03.01 - The Evolution of Consciousness, #The Integral Yoga, #Sri Aurobindo, #Integral Yoga
  The Science of the West has discovered evolution as the secret of life and its process in this material world; but it has laid more stress on the growth of form and species than on the growth of consciousness: even, consciousness has been regarded as an incident and not the whole secret of the meaning of the evolution. An evolution has been admitted by certain minds in the East, certain philosophies and scriptures, but there its sense has been the growth of the soul through developing or successive forms and many lives of the individual to its own highest reality.
  For if there is a conscious being in the form, that being can hardly be a temporary phenomenon of consciousness; it must be a soul fulfilling itself and this fulfilment can only take place if there is a return of the soul to earth in many successive lives, in many successive bodies.

03.02 - Yogic Initiation and Aptitude, #Collected Works of Nolini Kanta Gupta - Vol 03, #Nolini Kanta Gupta, #Integral Yoga
   Needless to say that these tests and ordeals are mere externals; at any rate, they have no place in our sadhana. Such or similar virtues many people possess or may possess, but that is no indication that they have an opening to the true spiritual life, to the life divine that we seek. Just as accomplishments on the mental plane,keen intellect, wide studies, profound scholarship even in the scriptures do not entitle a man to the possession of the spirit, even so capacities on the vital plane,mere self-control, patience and forbearance or endurance and perseverance do not create a claim to spiritual realisation, let alone physical austerities. In conformity with the Upanishadic standard, one may not be an unworthy son or an unworthy disciple, one may be strong, courageous, patient, calm, self-possessed, one may even be a consummate master of the senses and be endowed with other great virtues. Yet all this is no assurance of one's success in spiritual sadhana. Even one may be, after Shankara, a mumuksu, that is to say, have an ardent yearning for liberation. Still it is doubtful if that alone can give him liberation into the divine life.
   What then is the indispensable and unfailing requisite? What is it that gives you the right of entrance into the divine life? What is the element, the factor in you that acts as the open sesame, as a magic solvent?

03.03 - Arjuna or the Ideal Disciple, #Collected Works of Nolini Kanta Gupta - Vol 03, #Nolini Kanta Gupta, #Integral Yoga
   Nor by brain-power, nor by much learning of scripture.Katha Upanishad, 1. 2. 23.
   This Self cannot be won by any who is without strength.Katha Upanishad, 1. 2. 23.

04.03 - The Call to the Quest, #Savitri, #Sri Aurobindo, #Integral Yoga
  This breathing scripture of the Eternal's joy,
  This net of sweetness woven of aureate fire.
  --
  Is written with the Eternal's sun-white script,
  One shall discover and greaten with it his life

05.02 - Satyavan, #Savitri, #Sri Aurobindo, #Integral Yoga
  Perusing the mystic scripture of her forms,
  He had caught her hierophant significances,

06.02 - The Way of Fate and the Problem of Pain, #Savitri, #Sri Aurobindo, #Integral Yoga
  Than sealed Thought wakes to, but of this high script
  How shall my voice convince the mind of earth?
  --
  But till the hour reveals the fateful script,
  The writing waits illegible and mute.

07.01 - Realisation, Past and Future, #Collected Works of Nolini Kanta Gupta - Vol 03, #Nolini Kanta Gupta, #Integral Yoga
   The whole material and physical world, the whole earth I mention earth, because we are concerned directly and much more with it than other regionshas been till now governed by forces of consciousness that come from what Sri Aurobindo calls the Overmind. Even the thing man has named God is a force, a power in the Overmind. The entire universe has been, so to say, under the domination of this status of consciousness. Even then, you have to pass through many intermediary grades, or levels to arrive at the Overmind and when you reach there the first impression is that of a dazzling light that almost blinds you. But one can and has to press on and go beyond. Sri Aurobindo says, the rule of the Overmind is precisely coming to its end and the rule of the Supermind will replace it. All the past spiritual experiences were concerned with the Overmind: so it is a thing known to all who have found the Divine and are identified with Him. What Sri Aurobindo says is this that there is something more than the Overmind, something that lies a step higher and that it is now the turn of this higher status to come down and reign. We need not talk much of Overmind, because all the saints and seers, all religions and spiritual disciplines, scriptures and philosophies have spoken about it at length. All the gods known and familiar to men are there in its Pantheon. What we want, what is needed at present is a new revelation, a manifestation in a new manner of which very few were conscious in the past. We are not here merely to repeat the past.
   But it is so difficult. It is difficult for people to come out of experiences they have had, of what they have heard and read about always and everywhere. It is difficult for them not to think of the Supermind in terms of the Overmind, not to confuse the Supermind with the Overmind. They are unable to conceive of anything beyond or different. Sri Aurobindo used to say always that his Yoga Began where all the past Yogas ended: in order to realise his Yoga one must have already arrived at the extreme limit of what the ancients realised. In other words, one must have had already the perception of the Divine, the union and identification with the Divine. This divinity, Sri Aurobindo says, is the Divine of the Overmind which is itself something quite unthinkable for the human consciousness, and even to reach there one has to rise through many planes of consciousness and, as I said, one gets dazzled and dazed even at this level.

10.03 - Life in and Through Death, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
   The soul carries the body even like a corpse, says a scripture. It is a dead inert mass of inconscience weighing upon the conscious being that is behind. Such is the burden of life that the soul bears through its earthly existence. The image is beautifully delineated in the Indian legend of Shiva and Sati. Sati is dead, the bereaved Shiva goes about in anguish with the dead body of Sati flung upon his shoulder. Shiva is to be relieved of this burden, otherwise the creation will go to rack and ruin. The prayer went to Vishnu and Vishnu hurled his discus that cut to pieces the corpse of Sati the pieces were fifty-two in number and each spot where a piece, a limb of Sati, fell became a great place of pilgrimage. Even so, the world in its inconscience lies heavy on the secret Consciousness that is behind. It lies almost smothered under the dead weight of the inconscient and the unconsciousness. But the Divine Grace has entered into the inertial mass and split it up, entered into each particle as a spark of consciousness to turn gradually the dead matter into a rising and evolving tier of consciousness.
   Creation started originally with an absolutely inconscient existence. It is the pressure of an indwelling spirit the Grace descending into matter that has forced matter to burst into, to flower into forms of light and consciousness. The pressure is ever-present and the flowering continues into higher and higher modes of the Divine Consciousness. The figure '52' of the mythological legend denotes perhaps the integral multiplicity of the manifested universe. We may suggest an interpretation just to satisfy a mental curiosity: 52=50+2; and 50 is 5 X 10. The number 5 is very well-known as representing the five planes of consciousness, and as there is a descending and an ascending movement in each level that gives the number 10. And 5 times 10 is 50. This makes up the manifested creation. The remaining two are the Supreme Divine and his Shakti, or two unities at each end the one above, the one below. This however may be considered as a playful calculation meaning to represent, as I said, a multiple integrality of existence.

10.03 - The Debate of Love and Death, #Savitri, #Sri Aurobindo, #Integral Yoga
  A scripture written out in cryptic signs,
  An occult document of the All-Wonderful's art.

10.04 - The Dream Twilight of the Earthly Real, #Savitri, #Sri Aurobindo, #Integral Yoga
  Voices of prophets, scripts of vanishing creeds.
  Each in its hour eternal claimed went by:

1.007 - Initial Steps in Yoga Practice, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
  Yoga scriptures tell us that we must also choose a particular place, as far as possible not that today we meditate in Haridwar, tomorrow in Delhi and the day after tomorrow in Benares. That is not all right if we want real success. We must be in one place. As a matter of fact, people who practise mantra purascharana, or disciplinary chanting of mantras for a chosen period, do this and what can be a greater purascharana than meditation? So when we take to exclusive spiritual practice as a very serious affair and not merely as a hobby, it would be necessary, I would say for beginners, that a period of at least five years is called for. If we are very serious and in dead earnest about it not taking it only as a kind of educational procedure for informative purposes and not being very earnest about achieving anything substantially we may have to stick to one place for five years continuously, and not less than that. If our point is to achieve something substantial, concrete and definite, then this amount of discipline is called for, which is a definite place, a definite time, and a chosen method of meditation a definite system, arranged in one's own mind, which should not be changed continuously.
  Whenever there is repeated persistence in one given direction with reference to any chosen point of attention, we will see that some sort of success results. If a laboratory scientist is to analyse the structure of an atom, he will analyse a particular atom repeatedly by bombarding it with various kinds of light rays, but he will not go on changing the atoms today this atom, tomorrow that atom, today a hydrogen atom, tomorrow some other thing. That will not lead to success. A particular object will be taken up for consideration, observation and analysis, and a repeated attempt will be made to go deep into its structure until its mystery is revealed. So for this, great leisure is necessary, persistence is necessary, energy and willpower are necessary, and there is no need to mention that we must be free from all other outward distractions. When one takes to the practice of yoga, there should be no distraction of any pronounced nature. Minor distractions may be there, but serious distractions which will divert our attention markedly from the point of attention should not be there.

1.009 - Perception and Reality, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
  Here we go to a realm where the revelations of the ancient masters, which are embodied in the sacred scriptures, become our guide. Otherwise we shall be blind we will know nothing. The great masters who are the Gurus of mankind, who had plumbed the depths of being and had vision of the cosmic mystery, tell us something which the intellect cannot explain inductively, logically or scientifically. Our individual existence is caused by something which is prior to the manifestation of individuality and, therefore, let not the individual intellect interfere with this subject.
  The masters, whose records we have in such scriptures as the Upanishads, for example, tell us that there is a cosmic mystery behind this operation of individuality namely, the diversification of the Comic Principle. We cannot ask as to why it happened, because the intellect is interfering here. We are asking the reason why the intellect is there at all, and why individuality is there at all. That question cannot be asked because this intellect is an effect of individuality, and now we are trying to find the cause thereof. "Unbridled intellect is an obstacle," says Sankara in his commentary on the Brahma Sutras, because the intellect will insist that there is diversity. It will oblige us to accept that individuality is real, objects are real, our relationships to them must be real, and so forth. So we should not take the advice of the intellect hereafter. The mystery of cosmic manifestation, which is the diversification of the cosmic principle, is regarded as the controlling principle behind the existence and the functioning of the individual.
  Nowadays, our scientists also have conjectured the possibility of the universe having been once upon a time constituted as a sort of a cosmic atom. One scientist said, "The whole cosmos was like an atom." By "an atom", he means an indivisible something. The whole universe originally was like an atom, and that atom split into two parts. This is also mentioned in the Manu Smriti, prior to the declaration of this scientist. In the first chapter of the Manu Smriti we find the process of creation described, and instead of an atom, Manu says "anda" it was like an egg. Well, the scientist says "an atom". Does an atom not look something like an egg? It split into two parts. This original split of the atom into two parts is the cause of all our problems today. And it goes on, splitting and splitting two became four, four became eight, eight became sixteen, and umpteen, a millionfold and uncountable in number. These little split parts are the individuals you, me, and everybody included. We are struggling to become the original atom once again, as something unnatural has happened to us.
  --
  So, it would not be judicious on the part of any individual to vehemently assert that the physical perceptions of the world are all-in-all. The materialist's conception is, therefore, not correct, because this conception arises on account of a miscalculated attitude towards everything. This is the reason why, in the practice of yoga, expert guidance is called for, because we are dealing with matters that are super-intellectual, super-rational. Here our own understanding is not of much use, nor are books of any use, because we are treading on dangerous ground which the mind has not seen and cannot contemplate. We are all a wonder, says the scripture. This is a mystery, a wonder. It is a wonder because it is not capable of intellectually being analysed. The scripture proclaims that the subject is a great mystery, a great wonder and marvel; and one who teaches it is also a marvel, and the one who receives this knowledge, who understands it the disciple is also a wonder, indeed, because though the broadcasting station is powerful, the receiver-set also must be equally powerful to receive the message. The bamboo stick will not receive the message of the BBC. So the disciple is also a wonder to receive this mysterious knowledge, as the teacher himself is a wonder; and the subject is a marvel by itself.
  Thus arises the need to be cautious in the adjustment of the mind and the judgement of values in life. The sutras of Patanjali that I referred to give only a hint, and do not enter into details the hint being that the vrittis or the modifications of the mind are of a twofold character, which I translated as determinate and indeterminate, and have to be gradually controlled. This control of the vrittis or the modifications of the mind is regarded as yoga: yoga citta vtti nirodha (I.2). Yoga is the control of the modifications of 'the stuff' of the mind, the very substance of psychological action. Not merely the external modifications, but the very 'stuff' of it, the very root of it, has to be controlled, and this is done in and by successive stages. We have always to move from the effect to the cause in the manner indicated in this analysis that we have made.

1.00a - Introduction, #Magick Without Tears, #Aleister Crowley, #Philosophy
  3) With regard to the O.T.O., I believe I can find you a type script of all the official documents. If so, I will let you have them to read, and you can make up your mind as to whether you wish to affiliate to the Third Degree of the Order. I should consequently, in the case of your deciding to affiliate, go with you though the script of the Rituals and explain the meaning of the whole thing; communicating, in addition, the real secret and significant knowledge of which ordinary Masonry is not possessed.
  4) The horoscope; I do not like doing these at all, but it is part of the agreement with the Grand Treasurer of the O.T.O. that I should undertake them in worthy cases, if pressed. But I prefer to keep the figure to myself for future reference, in case any significant event makes consultation desirable.

1.00b - INTRODUCTION, #The Perennial Philosophy, #Aldous Huxley, #Philosophy
  In India two classes of scripture are recognized: the Shruti, or inspired writings which
  are their own authority, since they are the product of immediate insight into ultimate

1.00 - Main, #The Book of Certitude, #Baha u llah, #Baha i
  Such are the words with which My Forerunner hath extolled My Being, could ye but understand. Whoso reflecteth upon these verses, and realizeth what hidden pearls have been enshrined within them, will, by the righteousness of God, perceive the fragrance of the All-Merciful wafting from the direction of this Prison and will, with his whole heart, hasten unto Him with such ardent longing that the hosts of earth and heaven would be powerless to deter him. Say: This is a Revelation around which every proof and testimony doth circle. Thus hath it been sent down by your Lord, the God of Mercy, if ye be of them that judge aright. Say: This is the very soul of all scriptures which hath been breathed into the Pen of the Most High, causing all created beings to be dumbfounded, save only those who have been enraptured by the gentle breezes of My loving-kindness and the sweet savours of My bounties which have pervaded the whole of creation.
  137
  --
  Let none, in this Day, hold fast to aught save that which hath been manifested in this Revelation. Such is the decree of God, aforetime and hereafter-a decree wherewith the scriptures of the Messengers of old have been adorned. Such is the admonition of the Lord, aforetime and hereafter-an admonition wherewith the preamble to the Book of Life hath been embellished, did ye but perceive it. Such is the commandment of the Lord, aforetime and hereafter; beware lest ye choose instead the part of ignominy and abasement. Naught shall avail you in this Day but God, nor is there any refuge to flee to save Him, the Omniscient, the All-Wise. Whoso hath known Me hath known the Goal of all desire, and whoso hath turned unto Me hath turned unto the Object of all adoration. Thus hath it been set forth in the Book, and thus hath it been decreed by God, the Lord of all worlds. To read but one of the verses of My Revelation is better than to peruse the scriptures of both the former and latter generations. This is the Utterance of the All-Merciful, would that ye had ears to hear! Say: This is the essence of knowledge, did ye but understand.
  139
  --
  We, verily, see amongst you him who taketh hold of the Book of God and citeth from it proofs and arguments wherewith to repudiate his Lord, even as the followers of every other Faith sought reasons in their Holy Books for refuting Him Who is the Help in Peril, the Self-Subsisting. Say: God, the True One, is My witness that neither the scriptures of the world, nor all the books and writings in existence, shall, in this Day, avail you aught without this, the Living Book, Who proclaimeth in the midmost heart of creation: "Verily, there is none other God but Me, the All-Knowing, the All-Wise."
  169
  --
  O members of parliaments throughout the world! Select ye a single language for the use of all on earth, and adopt ye likewise a common script. God, verily, maketh plain for you that which shall profit you and enable you to be independent of others. He, of a truth, is the Most Bountiful, the All-Knowing, the All-Informed.
  This will be the cause of unity, could ye but comprehend it, and the greatest instrument for promoting harmony and civilization, would that ye might understand! We have appointed two signs for the coming of age of the human race: the first, which is the most firm foundation, We have set down in other of Our Tablets, while the second hath been revealed in this wondrous Book.

1.01 - About the Elements, #Initiation Into Hermetics, #Franz Bardon, #Occultism
  In the oldest oriental scriptures, the elements are designated as tattwas. In our European literature, they are only considered on the ground of their good effects and in so far as we are warned against their unfavourable influence, which means that certain actions can be undertaken under the influence of the tattwas, or else must be omitted. The accuracy of this fact is not to be doubted, but all that has been published up to date points to a slight aspect of the effects of the elements only. How to find out about the effects of elements respecting the tattwas for any personal use, may be sufficiently learned from astrological books.
  I am penetrating far deeper into the secret of the elements and therefore I have chosen a different key, which, although being analogous to the astrological key, has, as a matter of fact, nothing to do with it. The reader, to whom this key is completely unknown, shall be taught to use it in various ways. As for the single tasks, analogies and effects of the elements, I shall deal with tem by turns and in detail in the following chapters, which will not only unveil the theoretical part of it, but point directly to the practical use, because it is here that the greatest Arcanum is to be found.

1.01 - Foreward, #Hymns to the Mystic Fire, #Sri Aurobindo, #Integral Yoga
  regarded as Sruti, revealed scripture, and were included in the
  sacred Canon.
  --
  then all changes. We are in the presence of a great scripture of
  Foreword
  --
  such a scripture. At the same time the exoteric sense need not
  be merely a mask; the Riks may have been regarded by their
  --
  for external things. A purely spiritual scripture would concern
  itself with only spiritual significances, but the ancient mystics
  --
  esoteric sense of this ancient scripture.
  This is a literary and not a strictly literal translation. But a

1.01 - Historical Survey, #A Garden of Pomegranates - An Outline of the Qabalah, #Israel Regardie, #Occultism
  To come down to more historic ground, the Qabalah is the Jewish mystical teaching concerning the initiated inter- pretation of the Hebrew scriptures. It is a system of spiritual philosophy or theosophy, using this word in its original implications of 0eo? 2 o$ia, which has not only exercised for centuries an influence on the intellectual development of so shrewd and clear-thinking a people as the Jews, but has attracted the attention of many renowned
  17

1.01 - MASTER AND DISCIPLE, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
  One day he taught them to see God in all beings and, knowing this, to bow low before them all. A disciple went to the forest to gather wood for the sacrificial fire. Suddenly he heard an outcry: 'Get out of the way! A mad elephant is coming!' All but the disciple of the holy man took to their heels. He reasoned that the elephant was also God in another form. Then why should he run away from it? He stood still, bowed before the animal, and began to sing its praises. The mahut of the elephant was shouting: 'Run away! Run away!' But the disciple didn't move. The animal seized him with its trunk, cast him to one side, and went on its way. Hurt and bruised, the disciple lay unconscious on the ground. Hearing what had happened, his teacher and his brother disciples came to him and carried him to the hermitage. With the help of some medicine he soon regained consciousness. Someone asked him, 'You knew the elephant was coming - why didn't you leave the place?' 'But', he said, 'our teacher has told us that God Himself has taken all these forms, of animals as well as men. Therefore, thinking it was only the elephant God that was coming, I didn't run away.' At this the teacher said: 'Yes, my child, it is true that the elephant God was coming; but the mahut God forbade you to stay there. Since all are manifestations of God, why didn't you trust the mahut's words? You should have heeded the words of the mahut God.' (Laughter) "It is said in the scriptures that water is a form of God. But some water is fit to be used for worship, some water for washing the face, and some only for washing plates or dirty linen. This last sort cannot be used for drinking or for a holy purpose. In like manner, God undoubtedly dwells in the hearts of all - holy and unholy, righteous and unrighteous; but a man should not have dealings with the unholy, the wicked, the impure. He must not be intimate with them. With some of them he may exchange words, but with others he shouldn't go even that far. He should keep aloof from such people."
  How to deal with the wicked

1.01 - Our Demand and Need from the Gita, #Essays On The Gita, #Sri Aurobindo, #Integral Yoga
  HE WORLD abounds with scriptures sacred and profane, with revelations and half-revelations, with religions and philosophies, sects and schools and systems. To these the many minds of a half-ripe knowledge or no knowledge at all attach themselves with exclusiveness and passion and will have it that this or the other book is alone the eternal Word of
  God and all others are either impostures or at best imperfectly inspired, that this or that philosophy is the last word of the reasoning intellect and other systems are either errors or saved only by such partial truth in them as links them to the one true philosophical cult. Even the discoveries of physical Science have been elevated into a creed and in its name religion and spirituality banned as ignorance and superstition, philosophy as frippery and moonshine. And to these bigoted exclusions and vain wranglings even the wise have often lent themselves, misled by some spirit of darkness that has mingled with their light and overshadowed it with some cloud of intellectual egoism or spiritual pride. Mankind seems now indeed inclined to grow a little modester and wiser; we no longer slay our fellows in the name of God's truth or because they have minds differently trained or differently constituted from ours; we are less ready to curse and revile our neighbour because he is wicked or presumptuous enough to differ from us in opinion; we are ready even to admit that Truth is everywhere and cannot be our sole monopoly; we are beginning to look at other religions and philosophies for the truth and help they contain and no longer merely in order to damn them as false or criticise what we conceive to be their errors. But we are still apt to declare that our truth gives us the supreme knowledge which other religions or philosophies
  --
  It may therefore be useful in approaching an ancient scripture, such as the Veda, Upanishads or Gita, to indicate precisely the spirit in which we approach it and what exactly we think we may derive from it that is of value to humanity and its future. First of all, there is undoubtedly a Truth one and eternal which we are seeking, from which all other truth derives, by the light of which all other truth finds its right place, explanation and relation to the scheme of knowledge. But precisely for that reason it cannot be shut up in a single trenchant formula, it is not likely to be found in its entirety or in all its bearings in any single philosophy or scripture or uttered altogether and for ever by any one teacher, thinker, prophet or Avatar. Nor has it been wholly found by us if our view of it necessitates the intolerant exclusion of the truth underlying other systems; for when we reject passionately, we mean simply that we cannot appreciate and explain. Secondly, this Truth, though it is one and eternal, expresses itself in Time and through the mind of man; therefore every scripture must necessarily contain two elements, one temporary, perishable, belonging to the ideas of the period and country in which it was produced, the other eternal and imperishable and applicable in all ages and countries. Moreover, in the statement of the Truth the actual form given to it, the system and arrangement, the metaphysical and intellectual mould, the precise expression used must be largely subject to the mutations of Time and cease to have the same force; for the human intellect modifies itself always; continually dividing and putting together it is obliged to shift its divisions continually and to rearrange its syntheses; it is always leaving old expression and symbol for new or, if it uses the old, it so changes its connotation or at least
  Our Demand and Need from the Gita
  --
  No doubt in this attempt we may mix a good deal of error born of our own individuality and of the ideas in which we live, as did greater men before us, but if we steep ourselves in the spirit of this great scripture and, above all, if we have tried to live in that spirit, we may be sure of finding in it as much real truth as we are capable of receiving as well as the spiritual influence and actual help that, personally, we were intended to derive from it. And that is after all what scriptures were written to give; the rest is academical disputation or theological dogma.
  Only those scriptures, religions, philosophies which can be thus constantly renewed, relived, their stuff of permanent truth constantly reshaped and developed in the inner thought and spiritual experience of a developing humanity, continue to be of living importance to mankind. The rest remain as monuments of the past, but have no actual force or vital impulse for the future.
  Essays on the Gita
  --
   comprehensiveness. Its aim is precisely the opposite to that of the polemist commentators who found this scripture established as one of the three highest Vedantic authorities and attempted to turn it into a weapon of offence and defence against other schools and systems. The Gita is not a weapon for dialectical warfare; it is a gate opening on the whole world of spiritual truth and experience and the view it gives us embraces all the provinces of that supreme region. It maps out, but it does not cut up or build walls or hedges to confine our vision.
  There have been other syntheses in the long history of Indian thought. We start with the Vedic synthesis of the psychological being of man in its highest flights and widest rangings of divine knowledge, power, joy, life and glory with the cosmic existence of the gods, pursued behind the symbols of the material universe into those superior planes which are hidden from the physical sense and the material mentality. The crown of this synthesis was in the experience of the Vedic Rishis something divine, transcendent and blissful in whose unity the increasing soul of man and the eternal divine fullness of the cosmic godheads meet perfectly and fulfil themselves. The Upanishads take up this crowning experience of the earlier seers and make it their starting-point for a high and profound synthesis of spiritual knowledge; they draw together into a great harmony all that had been seen and experienced by the inspired and liberated knowers of the Eternal throughout a great and fruitful period of spiritual seeking. The

1.01 - Prayer, #Bhakti-Yoga, #Swami Vivekananda, #Hinduism
  "Meditation again is a constant remembrance (of the thing meditated upon) flowing like an unbroken stream of oil poured out from one vessel to another. When this kind of remembering has been attained (in relation to God) all bandages break. Thus it is spoken of in the scriptures regarding constant remembering as a means to liberation. This remembering again is of the same form as seeing, because it is of the same meaning as in the passage, 'When He who is far and near is seen, the bonds of the heart are broken, all doubts vanish, and all effects of work disappear' He who is near can be seen, but he who is far can only be remembered. Nevertheless the scripture says that he have to see Him who is near as well as Him who, is far, thereby indicating to us that the above kind of remembering is as good as seeing. This remembrance when exalted assumes the same form as seeing. . . . Worship is constant remembering as may be seen from the essential texts of scriptures. Knowing, which is the same as repeated worship, has been described as constant remembering. . . . Thus the memory, which has attained to the height of what is as good as direct perception, is spoken of in the Shruti as a means of liberation. 'This Atman is not to be reached through various sciences, nor by intellect, nor by much study of the Vedas. Whomsoever this Atman desires, by him is the Atman attained, unto him this Atman discovers Himself.' Here, after saying that mere hearing, thinking and meditating are not the means of attaining this Atman, it is said, 'Whom this Atman desires, by him the Atman is attained.' The extremely beloved is desired; by whomsoever this Atman is extremely beloved, he becomes the most beloved of the Atman. So that this beloved may attain the Atman, the Lord Himself helps. For it has been said by the Lord: 'Those who are constantly attached to Me and worship Me with love I give that direction to their will by which they come to Me.' Therefore it is said that, to whomsoever this remembering, which is of the same form as direct perception, is very dear, because it is dear to the Object of such memory perception, he is desired by the Supreme Atman, by him the Supreme Atman is attained. This constant remembrance is denoted by the word Bhakti." So says Bhagavn Rmnuja in his commentary on the Sutra Athto Brahma-jijns (Hence follows a dissertation on Brahman.).
  In commenting on the Sutra of Patanjali, Ishvara pranidhndv, i.e. "Or by the worship of the Supreme Lord" Bhoja says, "Pranidhna is that sort of Bhakti in which, without seeking results, such as sense-enjoyments etc., all works are dedicated to that Teacher of teachers." Bhagavan Vysa also, when commenting on the same, defines Pranidhana as "the form of Bhakti by which the mercy of the Supreme Lord comes to the Yogi, and blesses him by granting him his desires". According to Shndilya, "Bhakti is intense love to God." The best definition is, however, that given by the king of Bhaktas, Prahlda:

1.01 - SAMADHI PADA, #Patanjali Yoga Sutras, #Swami Vivekananda, #Hinduism
   scriptures; therefore the scriptures are proof, and, if any such
  persons are living now, their words will be proof. Other
  --
  Seers of the thoughts recorded in the scriptures the Vedas.
  According to them, the only proof of the scriptures is that
  they were the testimony of competent persons, yet they say
  the scriptures cannot take us to realisation. We can read all
  the Vedas, and yet will not realise anything, but when we
  --
  realises what the scriptures say, which penetrates where
  49

1.01 - THAT ARE THOU, #The Perennial Philosophy, #Aldous Huxley, #Philosophy
  When a man follows the way of the world, or the way of the flesh, or the way of tradition (i.e. when he believes in religious rites and the letter of the scriptures, as though they were intrinsically sacred), knowledge of Reality cannot arise in him.
  The wise say that this threefold way is like an iron chain, binding the feet of him who aspires to escape from the prison-house of this world. He who frees himself from the chain achieves Deliverance.
  --
  From Taoism we pass to that Mahayana Buddhism which, in the Far East, came to be so closely associated with Taoism, borrowing and bestowing until the two came at last to be fused in what is known as Zen. The Lankavatara Sutra, from which the following extract is taken, was the scripture which the founder of Zen Buddhism expressly recommended to his first disciples.
  Those who vainly reason without understanding the truth are lost in the jungle of the Vijnanas (the various forms of relative knowledge), running about here and there and trying to justify their view of ego-substance.
  --
  I am not competent, nor is this the place to discuss the doctrinal differences between Buddhism and Hinduism. Let it suffice to point out that, when he insisted that human beings are by nature non-Atman, the Buddha was evidently speaking about the personal self and not the universal Self. The Brahman controversialists, who appear in certain of the Pali scriptures, never so much as mention the Vedanta doctrine of the identity of Atman and Godhead and the non-identity of ego and Atman. What they maintain and Gautama denies is the substantial nature and eternal persistence of the individual psyche. As an unintelligent man seeks for the abode of music in the body of the lute, so does he look for a soul within the skandhas (the material and psychic aggregates, of which the individual mind-body is composed). About the existence of the Atman that is Brahman, as about most other metaphysical matters, the Buddha declines to speak, on the ground that such discussions do not tend to edification or spiritual progress among the members of a monastic order, such as he had founded. But though it has its dangers, though it may become the most absorbing, because the most serious and noblest, of distractions, metaphysical thinking is unavoidable and finally necessary. Even the Hinayanists found this, and the later Mahayanists were to develop, in connection with the practice of their religion, a splendid and imposing system of cosmological, ethical and psychological thought. This system was based upon the postulates of a strict idealism and professed to dispense with the idea of God. But moral and spiritual experience was too strong for philosophical theory, and under the inspiration of direct experience, the writers of the Mahayana sutras found themselves using all their ingenuity to explain why the Tathagata and the Bodhisattvas display an infinite charity towards beings that do not really exist. At the same time they stretched the framework of subjective idealism so as to make room for Universal Mind; qualified the idea of soullessness with the doctrine that, if purified, the individual mind can identify itself with the Universal Mind or Buddha-womb; and, while maintaining godlessness, asserted that this realizable Universal Mind is the inner consciousness of the eternal Buddha and that the Buddha-mind is associated with a great compassionate heart which desires the liberation of every sentient being and bestows divine grace on all who make a serious effort to achieve mans final end. In a word, despite their inauspicious vocabulary, the best of the Mahayana sutras contain an au thentic formulation of the Perennial Philosophya formulation which in some respects (as we shall see when we come to the section, God in the World) is more complete than any other.
  In India, as in Persia, Mohammedan thought came to be enriched by the doctrine that God is immanent as well as transcendent, while to Mohammedan practice were added the moral disciplines and spiritual exercises, by means of which the soul is prepared for contemplation or the unitive knowledge of the Godhead. It is a significant historical fact that the poet-saint Kabir is claimed as a co-religionist both by Moslems and Hindus. The politics of those whose goal is beyond time are always pacific; it is the idolaters of past and future, of reactionary memory and Utopian dream, who do the persecuting and make the wars.
  --
  that Every Man was enlightened by the Divine Light of Christ, and I saw it shine through all; And that they that believed in it came out of Condemnation and came to the Light of Life, and became the Children of it; And that they that hated it and did not believe in it, were condemned by it, though they made a profession of Christ. This I saw in the pure Openings of Light, without the help of any Man, neither did I then know where to find it in the scriptures, though afterwards, searching the scriptures, I found it.
  From Foxs Journal
  The doctrine of the Inner Light achieved a clearer formulation in the writings of the second generation of Quakers. There is, wrote William Penn, something nearer to us than scriptures, to wit, the Word in the heart from which all scriptures come. And a little later Robert Barclay sought to explain the direct experience of tat tvam asi in terms of an Augustinian theology that had, of course, to be considerably stretched and trimmed before it could fit the facts. Man, he declared in his famous theses, is a fallen being, incapable of good, unless united to the Divine Light. This Divine Light is Christ within the human soul, and is as universal as the seed of sin. All men, hea then as well as Christian, are endowed with the Inward Light, even though they may know nothing of the outward history of Christs life. Justification is for those who do not resist the Inner Light and so permit of a new birth of holiness within them.
  Goodness needeth not to enter into the soul, for it is there already, only it is unperceived.
  --
  All this sheds some lightdim, it is true, and merely inferentialon the problem of the perennialness of the Perennial Philosophy. In India the scriptures were regarded, not as revelations made at some given moment of history, but as eternal gospels, existent from everlasting to everlasting, inasmuch as coeval with man, or for that matter with any other kind of corporeal or incorporeal being possessed of reason. A similar point of view is expressed by Aristotle, who regards the fundamental truths of religion as everlasting and indestructible. There have been ascents and falls, periods (literally roads around or cycles) of progress and regress; but the great fact of God as the First Mover of a universe which partakes of His divinity has always been recognized. In the light of what we know about prehistoric man (and what we know amounts to nothing more than a few chipped stones, some paintings, drawings and sculptures) and of what we may legitimately infer from other, better documented fields of knowledge, what are we to think of these traditional doctrines? My own view is that they may be true. We know that born contemplatives in the realm both of analytic and of integral thought have turned up in fair numbers and at frequent intervals during recorded history. There is therefore every reason to suppose that they turned up before history was recorded. That many of these people died young or were unable to exercise their talents is certain. But a few of them must have survived. In this context it is highly significant that, among many contemporary primitives, two thought-patterns are foundan exoteric pattern for the unphilosophic many and an esoteric pattern (often monotheistic, with a belief in a God not merely of power, but of goodness and wisdom) for the initiated few. There is no reason to suppose that circumstances were any harder for prehistoric men than they are for many contemporary savages. But if an esoteric monotheism of the kind that seems to come natural to the born thinker is possible in modern savage societies, the majority of whose members accept the sort of polytheistic philosophy that seems to come natural to men of action, a similar esoteric doctrine might have been current in prehistoric societies. True, the modern esoteric doctrines may have been derived from higher cultures. But the significant fact remains that, if so derived, they yet had a meaning for certain members of the primitive society and were considered valuable enough to be carefully preserved. We have seen that many thoughts are unthinkable apart from an appropriate vocabulary and frame of reference. But the fundamental ideas of the Perennial Philosophy can be formulated in a very simple vocabulary, and the experiences to which the ideas refer can and indeed must be had immediately and apart from any vocabulary whatsoever. Strange openings and theophanies are granted to quite small children, who are often profoundly and permanently affected by these experiences. We have no reason to suppose that what happens now to persons with small vocabularies did not happen in remote antiquity. In the modern world (as Vaughan and Traherne and Wordsworth, among others, have told us) the child tends to grow out of his direct awareness of the one Ground of things; for the habit of analytical thought is fatal to the intuitions of integral thinking, whether on the psychic or the spiritual level. Psychic preoccupations may be and often are a major obstacle in the way of genuine spirituality. In primitive societies now (and, presumably, in the remote past) there is much preoccupation with, and a widespread talent for, psychic thinking. But a few people may have worked their way through psychic into genuinely spiritual experiencejust as, even in modern industrialized societies, a few people work their way out of the prevailing preoccupation with matter and through the prevailing habits of analytical thought into the direct experience of the spiritual Ground of things.
  Such, then, very briefly are the reasons for supposing that the historical traditions of oriental and our own classical antiquity may be true. It is interesting to find that at least one distinguished contemporary ethnologist is in agreement with Aristotle and the Vedantists. Orthodox ethnology, writes Dr. Paul Radin in his Primitive Man as Philosopher, has been nothing but an enthusiastic and quite uncritical attempt to apply the Darwinian theory of evolution to the facts of social experience. And he adds that no progress in ethnology will be achieved until scholars rid themselves once and for all of the curious notion that everything possesses a history; until they realize that certain ideas and certain concepts are as ultimate for man, as a social being, as specific physiological reactions are ultimate for him, as a biological being. Among these ultimate concepts, in Dr. Radins view, is that of monotheism. Such monotheism is often no more than the recognition of a single dark and numinous Power ruling the world. But it may sometimes be genuinely ethical and spiritual.

1.01 - The Four Aids, #The Synthesis Of Yoga, #Sri Aurobindo, #Integral Yoga
  Shastra - knowledge and scripture
  Utsaha - ideals of effort
  --
  6:But usually the representative influence occupies a much larger place in the life of the Sadhaka. If the Yoga is guided by a received written Shastra, -- some Word from the past which embodies the experience of former Yogins, -- it may be practised either by personal effort alone or with the aid of a Guru. The spiritual knowledge is then gained through meditation on the truths that are taught and it is made living and conscious by their realisation in the personal experience; the Yoga proceeds by the results of prescribed methods taught in a scripture or a tradition and reinforced and illumined by the instructions of the Master. This is a narrower practice, but safe and effective within its limits, because it follows a well-beaten track to a long familiar goal.
  7:For the Sadhaka of the Integral Yoga it is necessary to remember that no written Shastra, however great its authority or however large its spirit, can be more than a partial expression of the eternal Knowledge. He will use, but never bind himself even by the greatest scripture. Where the scripture is profound, wide, catholic, it may exercise upon him an influence for the highest good and of incalculable importance. It may be associated in his experience with his awakening to crowning verities and his realisation of the highest experiences. His Yoga may be governed for a long time by one scripture or by several successively, -- if it is in the line of the great Hindu tradition, by the Gita, for example, the Upanishads, the Veda. Or it may be a good part of his development to include in its material a richly varied experience of the truths of many scriptures and make the future opulent with all that is best in the past. But in the end he must take his station, or better still, if he can, always and from the beginning he must live in his own soul beyond the written Truth, -- sabdabrahmativartate -- beyond all that he has heard and all that he has yet to hear, -- srotaryasya srutasya ca. For he is not the Sadhaka of a book or of many books; he is a Sadhaka of the Infinite.
  8:Another kind of Shastra is not scripture, but a statement of the science and methods, the effective principles and way of working of the path of Yoga which the Sadhaka elects to follow. Each path has its Shastra, either written or traditional, passing from mouth to mouth through a long line of Teachers. In India a great authority, a high reverence even is ordinarily attached to the written or traditional teaching. All the lines of the Yoga are supposed to be fixed and the Teacher who has received the Shastra by tradition and realised it in practice guides the disciple along the immemorial tracks. One often even hears the objection urged against a new practice, a new Yogic teaching, the adoption of a new formula, "It is not according to the Shastra." But neither in fact nor in the actual practice of the Yogins is there really any such entire rigidity of an iron door shut against new truth, fresh revelation, widened experience. The written or traditional teaching expresses the knowledge and experiences of many centuries systematised, organised, made attainable to the beginner. Its importance and utility are therefore immense. But a great freedom of variation and development is always practicable. Even so highly scientific a system as Rajayoga can be practised on other lines than the organised method of Patanjali. Each of the three paths, trimarga 51, breaks into many bypaths which meet again at the goal. The general knowledge on which the Yoga depends is fixed, but the order, the succession, the devices, the forms must be allowed to vary, for the needs and particular impulsions of the individual nature have to be satisfied even while the general truths remain firm and constant.
  9:An integral and synthetic Yoga needs especially not to be bound by any written or traditional Shastra; for while it embraces the knowledge received from the past, it seeks to organise it anew for the present and the future. An absolute liberty of experience and of the restatement of knowledge in new terms and new combinations is the condition of its self-formation. Seeking to embrace all life in itself, it is in the position not of a pilgrim following the highroad to his destination, but, to that extent at least, of a path-finder hewing his way through a virgin forest. For Yoga has long diverged from life and the ancient systems which sought to embrace it, such as those of our Vedic forefa thers, are far away from us, expressed in terms which are no longer accessible, thrown into forms which are no longer applicable. Since then mankind has moved forward on the current of eternal Time and the same problem has to be approached from a new starting-point.

1.01 - The Highest Meaning of the Holy Truths, #The Blue Cliff Records, #Yuanwu Keqin, #Zen
  pounded the Light-Emitting Wisdom scripture; he experienced
  heavenly flowers falling in profusion and the earth turning to

1.01 - The Ideal of the Karmayogin, #Essays In Philosophy And Yoga, #Sri Aurobindo, #Integral Yoga
  Hinduism we find the basis of the future world-religion. This sanatana dharma has many scriptures, Veda, Vedanta, Gita,
  Upanishad, Darshana, Purana, Tantra, nor could it reject the
  Bible or the Koran; but its real, most authoritative scripture is in the heart in which the Eternal has His dwelling. It is in our inner spiritual experiences that we shall find the proof and source of the world's scriptures, the law of knowledge, love and conduct, the basis and inspiration of Karmayoga.
  Our aim will therefore be to help in building up India for the sake of humanity - this is the spirit of the Nationalism which we profess and follow. We say to humanity, "The time has come when you must take the great step and rise out of a material existence into the higher, deeper and wider life towards which humanity moves. The problems which have troubled mankind

1.020 - The World and Our World, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
  Basing themselves on this scriptural proclamation, exponents tell us that there is a distinction between what they call Ishvara srishti and jiva srishti the creation of God and the creation of the individual. There are two kinds of creation. Ikshanadi-praveshanta srishtir ishana kalpita; jagradadi-vimokshantah samsaro jiva-kalpitah - says the Panchadasi, in a famous passage. The meaning of passage has reference to the Aittareya Upanishad and such other relevant passages in other Upanishads, and makes out that God willed to be many, and manifested Himself as this vast creation, projected individualities, and entered the individual by an immanence of His own nature. This is another way of describing the traditional process of creation through divine manifestations usually known as Ishvara, Hiranyagarbha and Virat all of which are precedent to individual manifestations, and prior to the existence of human beings. But there is also what is known as 'individual's creation'. A lot of detail about it is given in the Panchadasi, especially in its fourth chapter called Dvaita Vivek how duality-consciousness arose at all, and how perceptions can bind us, though they need not necessarily bind us.
  The point is that the perception of an object need not bind us, though it can bind us. It need not bind us, because we can correctly perceive the existent object as it was created by Ishvara, merely reflecting in our minds the character of the object as it really is in itself from the point of view of the Creator. Then, perceptions would not be binding. For instance, a human being, tentatively speaking, may be regarded as Ishvara's creation. A human being is not created by another human being by the will of creativity. The object in front of me such as a tree, or a mountain, or the shining orb of the sun, and the moon and the stars may be regarded as parts of Ishvara's creation. We can simply perceive them as such.

1.02.2.2 - Self-Realisation, #Isha Upanishad, #unset, #Zen
  of these scriptures and to the relations of the thought which is developed in the Isha.
  but reflected in the mind. If the mind is pure, bright and still,

1.024 - Affiliation With Larger Wholes, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
  For the purpose of controlling the mind, we have to adjust ourself to the concept of a higher reality. That is what is meant by ekatattva abhyasah, by which there is pratisedha or checking of the modifications of the mind. The introduction of the concept of a higher reality into the mind can be done either by logical analysis or by reliance upon scriptural statements. Great texts like the Upanishads, the Vedas and such other mystical texts, proclaim the existence of a Universal Reality which can be reached through various grades of ascent into more and more comprehensive levels. The happiness of the human being is not supposed to be complete happiness.
  In the Brihadaranyaka Upanishad and the Taittareya Upanishad we have, for instance, an enumeration of the gradations of happiness, which is a wonderful incentive for the mind to concentrate on higher values. In the Taittariya Upanishad we are told that human happiness is the lowest kind of happiness, and not the highest happiness, as we imagine. We think that perhaps we are superior to animals, plants and stones, etc., and biologists of the modern world are likely to tell us that we are Homo sapiens, far advanced in the process of evolution, perhaps having reached the topmost level of evolution. It is not true. The Upanishad says that we are in a very low condition.
  --
  The mind can be brought to concentrate itself upon higher degrees of reality through the reading of scriptural testimony, which can be corroborated by the inductive logic and deductive reasoning, etc. of our own analytical power. Sruti and yukti, as the great masters tell us, should both come to our aid in bringing the mind to a point of concentration on a higher reality than what it is experiencing now through the senses.
  The urge that we feel from within to acquire more and more things, and to enjoy greater and greater degrees of happiness, is an insignia of the existence of such states where we can have that type of experience. An intellectual urge, moral urge, spiritual urge and aesthetic urge are all indications of the presence of certain values which cannot be comprehended at present by the powers of sense and reasoning. There is an irresistible desire to ask for more and more, and we cannot ask for more and more unless this 'more' exists. We will not ask for an empty thing. The idea of the more cannot arise in a mind which has not sensed the presence of that 'more' in some subtle manner. The mind has various levels of perception. Although through the conscious level it cannot directly perceive the existence of these higher levels of reality, it can sense the presence of these higher realities through other forms of apparatus that it has within, and it is due to the action of these inward sensations that it feels agonised and restless in any given condition of lower experience.
  --
  This is the conclusion arrived at by certain faculties of prehension which are operating in the subtle layers of the mind, invisible even to the mind itself in its conscious level. In our own six-foot bodily individuality, we have possibilities of the whole cosmic experience in a minute, microscopic form. The seeds of universal powers and achievements are hiddenly present in the cells of our own individual body. The vast tree of cosmic experience, the blossoming of universal realisation, is latent as a seed in the very fibre of our present individual existence. It is this that occasionally makes us brood over the possibilities of higher achievements in life and never allows us to rest contented with what we are at present. So, by these methods of self-analysis and study of scriptures, etc., we should be able to bring the mind back from its concentration on diverse realities of the sense-world and fix it upon a higher reality so that its distractions get lessened as much as possible.
  A distraction is the attention of the mind on diversity. Concentration is the withdrawal of the mind from diversity, and its attention bestowed upon a more unifying system of values. As we go higher and higher, the diversities become less and less. They all get included in a more comprehensive system, which includes all of the diversities which the mind originally perceived as independent existences. This is how the mind can be brought from its usual meanderings in the world of sense and made to concentrate itself on higher realities. By educative methods it has to be told, again and again, that a higher plane does exist and is implicit in one's own experience. It is not outside; it is hidden, latent potential, and it can be manifest by proper methods.

1.028 - Bringing About Whole-Souled Dedication, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
  Whole-souled dedication to the practice is possible only when there is perfect understanding. Why is it that our mind is not entirely dedicated to this practice, and part of it is thinking of something else? The reason is that our understanding of the efficacy and the value and the worthwhileness of the practice is inadequate. Our faith in God, our trust in God, and our feeling that God is everything is half-baked it is not perfect. We do not have, even today, full faith that God is everything. "There is something else which is also good." Such thinking is lurking in the mind. "Though God is all alright, the scriptures say that but my subtle conscience says that there is something else also, something else that is also sweet. God is sweet, but there is something else also, equally sweet. Why should I not go there?.
  So the subconscious mind goes there, and that outlet which the mind allows for at the bottom lets all the energy leak out in the wrong direction. The so-called concentration of mind in the practice of yoga that is undertaken every day becomes a kind of futile effort on account of not knowing that some underground activity is going on in the mind which is completely upsetting all of our conscious activities called daily meditation. We have certain underground activities which we are not aware of always, and these activities completely disturb and turn upside-down all of the so-called practice of yoga that is done only at the conscious level.

10.29 - Gods Debt, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
   First let us understand the mystery of God's debt to man. We know, in ordinary life a subordinate has a duty towards his superior, the lesser owes a debt to the greater. That is easily understood. Likewise the superior also has a duty to his subordinate, the greater has his duty to the smaller. The child owes a debt to his parents; no less is the debt that the parents owe to the child. The parents not only bring forth the child, but they have to bring him up, nourish, foster, educate and settle him in life. We know also, as the scriptures tell us, that there is a debt man owes to the gods. The paying of the debt is described in the institution of the sacrifice (yajna). It is through his sacrifice that man achieves what he has to achieve upon earth. It is the givingof what one is and what one hasto the gods the sacrifice mounts carrying the offering to the gods. But the sacrifice is not a mere one-sided movement, the sacrifice brings from the gods gifts for the manmaterial prosperity and spiritual fulfilment. Man increases himself in this way, but thereby increases the gods also. The offering that man brings in his sacrificeall his possessionshis earthly possessions, but chiefly his possessions of the inner world, the wealth of his spirit, the virtues of his consciousness all go to the gods and increase them, that is to say, they become more manifest and more powerful upon earth and in earthly existence and in the service of man.
   The sacrifice going up to the gods as offered by man means the sadhana, the inner discipline that he follows by which he lifts up his being with its mental and vital and physical formulations to their higher and higher potencies upon earth. The dedication of the normal powers and faculties to the gods means purification and release from the bondages of ignorance and egoism. This serves to make the gods living to us, bring them near to our terrestrial life, to our normal consciousness. This is what is meant by increasing the godsman's duty or debt to the gods. In answer there is a corresponding gesture from the gods, with their immortalising reality they dwell in us and fill our being with their godlike qualities, their light, their energy, their delight, their very immortality. Man increases the gods and the gods increase man and by their mutual increasing they attain the supreme increment, the Divine status, so says the Gita.

1.02 - IN THE COMPANY OF DEVOTEES, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
  Pundit Samadhyayi was present. The Brahmo devotees introduced him to Sri Ramakrishna as a scholar well versed in the Vedas and the other scriptures. The Master said, "Yes, I can see inside him through his eyes, as one can see the objects in a room through the glass door."
  Trailokya sang. Suddenly the Master stood up and went into samdhi, repeating the Mother's name. Coming down a little to the plane of sense consciousness, he danced and sang:

1.02 - Karmayoga, #Essays In Philosophy And Yoga, #Sri Aurobindo, #Integral Yoga
  Moreover the word Vedanta is usually identified with the strict Monism and the peculiar theory of Maya established by the lofty and ascetic intellect of Shankara. But it is the Upanishads themselves and not Shankara's writings, the text and not the commentary, that are the authoritative scripture of the
  Vedantin. Shankara's, great and temporarily satisfying as it was, is still only one synthesis and interpretation of the Upanishads.

1.02 - Outline of Practice, #The Zen Teaching of Bodhidharma, #Bodhidharma, #Buddhism
  even by scriptures are in complete and unspoken agreement with
  reason. Without moving, without effort, they enter, we say, by

1.02 - Prayer of Parashara to Vishnu, #Vishnu Purana, #Vyasa, #Hinduism
  [11]: The commentator argues that Vāsudeva must be the Brahma, or supreme being, of the Vedas, because the same circumstances are predicated of both, as eternity, omnipresence, omnipotence, &c.; but he does not adduce any scriptural text with the name Vāsudeva.
  [12]: Time is not usually enumerated in the Purāṇas as an element of the first cause, but the Padma P. and the Bhāgavata p. 10 agree with the Viṣṇu in including it. It appears to have been regarded at an earlier date as an independent cause: the commentator on the Mokṣa Dherma cites a passage from the Vedas, which he understands to allude to the different theories of the cause of creation. Time, inherent nature, consequence of acts, self-will, elementary atoms, matter, and spirit, asserted severally by the Astrologers, the Buddhists, the Mimānsakas, the Jains, the Logicians, the Sā

1.02 - SADHANA PADA, #Patanjali Yoga Sutras, #Swami Vivekananda, #Hinduism
  and Siddhanta. These are the two sorts of scriptural
  knowledge, Vada (the argumentative) and Siddhanta (the

1.02 - Self-Consecration, #The Synthesis Of Yoga, #Sri Aurobindo, #Integral Yoga
  19:But on that which as yet we know not how shall we concentrate? And yet we cannot know the Divine unless we have achieved this concentration of our being upon him. A concentration which culminates in a living realisation and the constant sense of the presence of the One in ourselves and in all of which we are aware, is what we mean in Yoga by knowledge and the effort after knowledge. It is not enough to devote ourselves by the reading of scriptures or by the stress of philosophical reasoning to an intellectual understanding of the Divine; for at the end of our long mental labour we might know all that has been said of the Eternal, possess all that can be thought about the Infinite and yet we might not know him at all. This intellectual preparation can indeed be the first stage in a powerful Yoga, but it is not indispensable : it is not a step which all need or can be called upon to take. Yoga would be impossible, except for a very few, if the intellectual figure of knowledge arrived at by the speculative or meditative Reason were its indispensable condition or a binding preliminary. All that the Light from above asks of us that it may begin its work is a call from the soul and a sufficient point of support in the mind. This support can be reached through an insistent idea of the Divine in the thought, a corresponding will in the dynamic parts, an aspiration, a faith, a need in the heart. Any one of these may lead or predominate, if all cannot move in unison or in an equal rhythm. The idea may be and must in the beginning be inadequate; the aspiration may be narrow and imperfect, the faith poorly illumined or even, as not surely founded on the rock of knowledge, fluctuating, uncertain, easily diminished; often even it may be extinguished and need to be lit again with difficulty like a torch in a windy pass. But if once there is a resolute self-consecration from deep within, if there is an awakening to the soul's call, these inadequate things can be a sufficient instrument for the divine purpose. Therefore the wise have always been unwilling to limit man's avenues towards God; they would not shut against his entry even the narrowest portal, the lowest and darkest postern, the humblest wicket-gate. Any name, any form, any symbol, any offering has been held to be sufficient if there is the consecration along with it; for the Divine knows himself in the heart of the seeker and accepts the sacrifice.
  20:But still the greater and wider the moving idea-force behind the consecration, the better for the seeker; his attainment is likely to be fuller and more ample. If we are to attempt an integral Yoga, it will be as well to start with an idea of the Divine that is itself integral. There should be an aspiration in the heart wide enough for a realisation without any narrow limits. Not only should we avoid a sectarian religious outlook, but also all onesided philosophical conceptions which try to shut up the Ineffable in a restricting mental formula. The dynamic conception or impelling sense with which our Yoga can best set out would be naturally the idea, the sense of a conscious all-embracing but all-exceeding Infinite. Our uplook must be to a free, all-powerful, perfect and blissful One and Oneness in which all beings move and live and through which all can meet and become one. This Eternal will be at once personal and impersonal in his self-revelation and touch upon the soul. He is personal because he is the conscious Divine, the infinite Person who casts some broken reflection of himself in the myriad divine and undivine personalities of the universe. He is impersonal because he appears to us as an infinite Existence, Consciousness and Ananda and because he is the fount, base and constituent of all existences and all energies, -the very material of our being and mind and life and body, our spirit and our matter. The thought, concentrating on him, must not merely understand in an intellectual form that he exists, or conceive of him as an abstraction, a logical necessity; it must become a seeing thought able to meet him here as the Inhabitant in all, realise him in ourselves, watch and take hold on the movement of his forces. He is the one Existence: he is the original and universal Delight that constitutes all things and exceeds them: he is the one infinite Consciousness that composes all consciousnesses and informs all their movements; he is the one illimitable Being who sustains all action and experience; his will guides the evolution of things towards their yet unrealised but inevitable aim and plenitude. To him the heart can consecrate itself, approach him as the supreme Beloved, beat and move in him as in a universal sweetness of Love and a living sea of Delight. For his is the secret Joy that supports the soul in all its experiences and maintains even the errant ego in its ordeals and struggles till all sorrow and suffering shall cease. His is the Love and the Bliss of the infinite divine Lover who is drawing all things by their own path towards his happy oneness. On him the Will can unalterably fix as the invisible Power that guides and fulfils it and as the source of its strength. In the impersonality this actuating Power is a self-illumined Force that contains all results and calmly works until it accomplishes, in the personality an all wise and omnipotent Master of the Yoga whom nothing can prevent from leading it to its goal. This is the faith with which the seeker has to begin his seeking and endeavour; for in all his effort here, but most of all in his effort towards the Unseen, mental man must perforce proceed by faith. When the realisation comes, the faith divinely fulfilled and completed will be transformed into an eternal flame of knowledge.

1.02 - The Age of Individualism and Reason, #The Human Cycle, #Sri Aurobindo, #Integral Yoga
  But by what individual faculty or standard shall the innovator find out his new foundation or establish his new measures? Evidently, it will depend upon the available enlightenment of the time and the possible forms of knowledge to which he has access. At first it was in religion a personal illumination supported in the West by a theological, in the East by a philosophical reasoning. In society and politics it started with a crude primitive perception of natural right and justice which took its origin from the exasperation of suffering or from an awakened sense of general oppression, wrong, injustice and the indefensibility of the existing order when brought to any other test than that of privilege and established convention. The religious motive led at first; the social and political, moderating itself after the swift suppression of its first crude and vehement movements, took advantage of the upheaval of religious reformation, followed behind it as a useful ally and waited its time to assume the lead when the spiritual momentum had been spent and, perhaps by the very force of the secular influences it called to its aid, had missed its way. The movement of religious freedom in Europe took its stand first on a limited, then on an absolute right of the individual experience and illumined reason to determine the true sense of inspired scripture and the true Christian ritual and order of the Church. The vehemence of its claim was measured by the vehemence of its revolt from the usurpations, pretensions and brutalities of the ecclesiastical power which claimed to withhold the scripture from general knowledge and impose by moral authority and physical violence its own arbitrary interpretation of Sacred Writ, if not indeed another and substituted doctrine, on the recalcitrant individual conscience. In its more tepid and moderate forms the revolt engendered such compromises as the Episcopalian Churches, at a higher degree of fervour Calvinistic Puritanism, at white heat a riot of individual religious judgment and imagination in such sects as the Anabaptist, Independent, Socinian and countless others. In the East such a movement divorced from all political or any strongly iconoclastic social significance would have produced simply a series of religious reformers, illumined saints, new bodies of belief with their appropriate cultural and social practice; in the West atheism and secularism were its inevitable and predestined goal. At first questioning the conventional forms of religion, the mediation of the priesthood between God and the soul and the substitution of Papal authority for the authority of the scripture, it could not fail to go forward and question the scripture itself and then all supernaturalism, religious belief or suprarational truth no less than outward creed and institute.
  For, eventually, the evolution of Europe was determined less by the Reformation than by the Renascence; it flowered by the vigorous return of the ancient Graeco-Roman mentality of the one rather than by the Hebraic and religio-ethical temperament of the other. The Renascence gave back to Europe on one hand the free curiosity of the Greek mind, its eager search for first principles and rational laws, its delighted intellectual scrutiny of the facts of life by the force of direct observation and individual reasoning, on the other the Romans large practicality and his sense for the ordering of life in harmony with a robust utility and the just principles of things. But both these tendencies were pursued with a passion, a seriousness, a moral and almost religious ardour which, lacking in the ancient Graeco-Roman mentality, Europe owed to her long centuries of Judaeo-Christian discipline. It was from these sources that the individualistic age of Western society sought ultimately for that principle of order and control which all human society needs and which more ancient times attempted to realise first by the materialisation of fixed symbols of truth, then by ethical type and discipline, finally by infallible authority or stereotyped convention.
  --
  They found and held it with enthusiasm in the discoveries of physical Science. The triumphant domination, the all-shattering and irresistible victory of Science in nineteenth-century Europe is explained by the absolute perfection with which it at least seemed for a time to satisfy these great psychological wants of the Western mind. Science seemed to it to fulfil impeccably its search for the two supreme desiderata of an individualistic age. Here at last was a truth of things which depended on no doubtful scripture or fallible human authority but which Mother Nature herself had written in her eternal book for all to read who had patience to observe and intellectual honesty to judge. Here were laws, principles, fundamental facts of the world and of our being which all could verify at once for themselves and which must therefore satisfy and guide the free individual judgment, delivering it equally from alien compulsion and from erratic self-will. Here were laws and truths which justified and yet controlled the claims and desires of the individual human being; here a science which provided a standard, a norm of knowledge, a rational basis for life, a clear outline and sovereign means for the progress and perfection of the individual and the race. The attempt to govern and organise human life by verifiable Science, by a law, a truth of things, an order and principles which all can observe and verify in their ground and fact and to which therefore all may freely and must rationally subscribe, is the culminating movement of European civilisation. It has been the fulfilment and triumph of the individualistic age of human society; it has seemed likely also to be its end, the cause of the death of individualism and its putting away and burial among the monuments of the past.
  For this discovery by individual free-thought of universal laws of which the individual is almost a by-product and by which he must necessarily be governed, this attempt actually to govern the social life of humanity in conscious accordance with the mechanism of these laws seems to lead logically to the suppression of that very individual freedom which made the discovery and the attempt at all possible. In seeking the truth and law of his own being the individual seems to have discovered a truth and law which is not of his own individual being at all, but of the collectivity, the pack, the hive, the mass. The result to which this points and to which it still seems irresistibly to be driving us is a new ordering of society by a rigid economic or governmental Socialism in which the individual, deprived again of his freedom in his own interest and that of humanity, must have his whole life and action determined for him at every step and in every point from birth to old age by the well-ordered mechanism of the State.1 We might then have a curious new version, with very important differences, of the old Asiatic or even of the old Indian order of society. In place of the religio-ethical sanction there will be a scientific and rational or naturalistic motive and rule; instead of the Brahmin Shastrakara the scientific, administrative and economic expert. In the place of the King himself observing the law and compelling with the aid and consent of the society all to tread without deviation the line marked out for them, the line of the Dharma, there will stand the collectivist State similarly guided and empowered. Instead of a hierarchical arrangement of classes each with its powers, privileges and duties there will be established an initial equality of education and opportunity, ultimately perhaps with a subsequent determination of function by experts who shall know us better than ourselves and choose for us our work and quality. Marriage, generation and the education of the child may be fixed by the scientific State as of old by the Shastra. For each man there will be a long stage of work for the State superintended by collectivist authorities and perhaps in the end a period of liberation, not for action but for enjoyment of leisure and personal self-improvement, answering to the Vanaprastha and Sannyasa Asramas of the old Aryan society. The rigidity of such a social state would greatly surpass that of its Asiatic forerunner; for there at least there were for the rebel, the innovator two important concessions. There was for the individual the freedom of an early Sannyasa, a renunciation of the social for the free spiritual life, and there was for the group the liberty to form a sub-society governed by new conceptions like the Sikh or the Vaishnava. But neither of these violent departures from the norm could be tolerated by a strictly economic and rigorously scientific and unitarian society. Obviously, too, there would grow up a fixed system of social morality and custom and a body of socialistic doctrine which one could not be allowed to question practically, and perhaps not even intellectually, since that would soon shatter or else undermine the system. Thus we should have a new typal order based upon purely economic capacity and function, guakarma, and rapidly petrifying by the inhibition of individual liberty into a system of rationalistic conventions. And quite certainly this static order would at long last be broken by a new individualist age of revolt, led probably by the principles of an extreme philosophical Anarchism.

1.02 - The Development of Sri Aurobindos Thought, #Preparing for the Miraculous, #George Van Vrekhem, #Integral Yoga
  The diamond script of the Imperishable ...
  Sri Aurobindos supreme intervention at the root of

1.02 - The Divine Teacher, #Essays On The Gita, #Sri Aurobindo, #Integral Yoga
  And the action in which this divine figure moves is the whole wide action of man in life, not merely the inner life, but all this obscure course of the world which we can judge only by the twilight of the human reason as it opens up dimly before our uncertain advance the little span in front. This is the distinguishing feature of the Gita that it is the culmination of such an action which gives rise to its teaching and assigns that prominence and bold relief to the gospel of works which it enunciates with an emphasis and force we do not find in other Indian scriptures.
  Not only in the Gita, but in other passages of the Mahabharata we meet with Krishna declaring emphatically the necessity of action, but it is here that he reveals its secret and the divinity behind our works.

1.02 - The Eternal Law, #Sri Aurobindo or the Adventure of Consciousness, #Satprem, #Integral Yoga
  If we leave aside the scriptures for the human mind is so skillful that it can easily dream up sheep grazing on the Empire State building and if we look at the practical disciplines of India, the contradiction becomes even more striking. Indian psychology is based on the very intelligent observation that all things in the universe, from mineral to man, are made up of three elements or qualities (gunas), which may be called by different names depending on the order of reality one considers: tamas, inertia, obscurity, unconsciousness; rajas,
  movement, struggle, effort, passion, action; sattva, light, harmony,

1.02 - THE NATURE OF THE GROUND, #The Perennial Philosophy, #Aldous Huxley, #Philosophy
  The purpose of all words is to illustrate the meaning of an object. When they are heard, they should enable the hearer to understand this meaning, and this according to the four categories of substance, of activity, of quality and of relationship. For example cow and horse belong to the category of substance. He cooks or he prays belongs to the category of activity. White and black belong to the category of quality. Having money or possessing cows belongs to the category of relationship. Now there is no class of substance to which the Brahman belongs, no common genus. It cannot therefore be denoted by words which, like being in the ordinary sense, signify a category of things. Nor can it be denoted by quality, for it is without qualities; nor yet by activity because it is without activityat rest, without parts or activity, according to the scriptures. Neither can it be denoted by relationship, for it is without a second and is not the object of anything but its own self. Therefore it cannot be defined by word or idea; as the scripture says, it is the One before whom words recoil.
  Shankara

1.02 - The Philosophy of Ishvara, #Bhakti-Yoga, #Swami Vivekananda, #Hinduism
  In explaining this aphorism the commentator Rmnuja says, "This doubt being raised, whether among the powers of the liberated souls is included that unique power of the Supreme One, that is, of creation etc. of the universe and even the Lordship of all, or whether, without that, the glory of the liberated consists only in the direct perception of the Supreme One, we get as an argument the following: It is reasonable that the liberated get the Lordship of the universe, because the scriptures say,
  'He attains to extreme sameness with the Supreme One and all his desires are realised.' Now extreme sameness and realisation of all desires cannot be attained without the unique power of the Supreme Lord, namely, that of governing the universe. Therefore, to attain the realisation of all desires and the extreme sameness with the Supreme, we must all admit that the liberated get the power of ruling the whole universe. To this we reply, that the liberated get all the powers except that of ruling the universe.
  --
  This is proved from the scriptural text, "From whom all these things are born, by which all that are born live, unto whom they, departing, return ask about it. That is Brahman.' If this quality of ruling the universe be a quality common even to the liberated then this text would not apply as a definition of Brahman defining Him through His rulership of the universe. The uncommon attributes alone define a thing; therefore in texts like 'My beloved boy, alone, in the beginning there existed the One without a second. That saw and felt, "I will give birth to the many." That projected heat.' 'Brahman indeed alone existed in the beginning. That One evolved. That projected a blessed form, the Kshatra. All these gods are Kshatras: Varuna, Soma, Rudra, Parjanya, Yama, Mrityu, Ishna.' 'Atman indeed existed alone in the beginning; nothing else vibrated; He thought of projecting the world; He projected the world after.' 'Alone Nryana existed; neither Brahm, nor Ishana, nor the Dyv-Prithivi, nor the stars, nor water, nor fire, nor Soma, nor the sun. He did not take pleasure alone. He after His meditation had one daughter, the ten organs, etc.' and in others as, 'Who living in the earth is separate from the earth, who living in the Atman, etc.' the Shrutis speak of the Supreme One as the subject of the work of ruling the universe. . . . Nor in these de scriptions of the ruling of the universe is there any position for the liberated soul, by which such a soul may have the ruling of the universe ascribed to it."
  In explaining the next Sutra, Ramanuja says, "If you say it is not so, because there are direct texts in the Vedas in evidence to the contrary, these texts refer to the glory of the liberated in the spheres of the subordinate deities." This also is an easy solution of the difficulty. Although the system of Ramanuja admits the unity of the total, within that totality of existence there are, according to him, eternal differences. Therefore, for all practical purposes, this system also being dualistic, it was easy for Ramanuja to keep the distinction between the personal soul and the Personal God very clear.
  --
  Now to go back to our Acharya Shankara: "Those", he says, "who by worshipping the qualified Brahman attain conjunction with the Supreme Ruler, preserving their own mind is their glory limited or unlimited? This doubt arising, we get as an argument: Their glory should be unlimited because of the scriptural texts, 'They attain their own kingdom', 'To him all the gods offer worship',
  'Their desires are fulfilled in all the worlds'. As an answer to this, Vyasa writes, 'Without the power of ruling the universe.' Barring the power of creation etc. of the universe, the other powers such as Anim etc. are acquired by the liberated. As to ruling the universe, that belongs to the eternally perfect Ishvara.
  Why? Because He is the subject of all the scriptural texts as regards creation etc., and the liberated souls are not mentioned therein in any connection whatsoever. The Supreme Lord indeed is alone engaged in ruling the universe. The texts as to creation etc. all point to Him. Besides, there is given the adjective 'ever-perfect'. Also the scriptures say that the powers Anima etc. of the others are from the search after and the worship of God. Therefore they have no place in the ruling of the universe. Again, on account of their possessing their own minds, it is possible that their wills may differ, and that, whilst one desires creation, another may desire destruction. The only way of avoiding this conflict is to make all wills subordinate to some one will. Therefore the conclusion is that the wills of the liberated are dependent on the will of the Supreme Ruler."
  next chapter: 1.03 - Spiritual Realisation, The aim of Bhakti-Yoga

1.02 - The Principle of Fire, #Initiation Into Hermetics, #Franz Bardon, #Occultism
  As it has been said before, akasa or the etheric principle is the cause of the origin of the elements. According to the oriental scriptures, the first element born from akasa is believed to be Tejas, the principle of fire. This element as well as all the others manifest their influence not only in our roughly material plane but also in everything created. The basic qualities of the fiery principle are heat and expansion. In the beginning of all things created therefore must have been fire and light, and in the
  Bible we read: Fiat Lux There shall be light. The origin of the light, of course, is to be sought in the fire. Each element and therefore that of fire, too, has two polarities, i.e., the active and the passive one, which means positive (+) and negative (-). Plus will always signify the constructive, the creative, the productive sources whereas minus stands for all that is destructive or dissecting. There are always two basic qualities, which must be clearly distinguished in each element. Religions have always imputed the good to the active and the evil to the passive side. But fundamentally spoken, there are no such things as good or bad; they are nothing but human conceptions. In the Universe there is neither good nor evil, because everything has been created according to immutable rules, wherein the Divine Principle is reflected and only by knowing these rules, shall we be able to come near to the Divinity.

1.02 - The Stages of Initiation, #Knowledge of the Higher Worlds, #Rudolf Steiner, #Theosophy
  But if, after completing the fire-trial, he should wish to continue the path, a certain writing-system generally adopted in esoteric training must now be revealed to him. The actual teachings manifest themselves in this writing, because the hidden (occult) qualities of things cannot be directly expressed in the words of ordinary writing. The pupils of the initiates translate the teachings into ordinary language as best they can. The occult script reveals itself to the soul when the latter has attained spiritual perception, for it is traced in the spiritual world and remains there for all time. It cannot be learned as an artificial writing is learned and read. The candidate grows into clairvoyant knowledge in an appropriate way, and during this growth a new strength is developed in his soul, as a new faculty, through which he feels himself impelled to decipher the occurrences and the beings of the spiritual world
   p. 83
   like the characters of a writing. This strength, with the experience it brings of the corresponding trial, might possibly awaken in the soul as though of its own accord, as the soul continually develops, but it will be found safer to follow the instructions of those who are spiritually experienced, and who have some proficiency in deciphering the occult script.
  The signs of the occult script are not arbitrarily invented; they correspond to the forces actively engaged in the world. They teach us the language of things. It becomes immediately apparent to the candidate that the signs he is now learning correspond to the forms, colors, and tones which he learned to perceive during his preparation and enlightenment. He realizes that all he learned previously was only like learning to spell, and that he is only now beginning to read in the higher worlds. All the isolated figures, tones, and colors reveal themselves to him now in one great connected whole. Now for the first time he attains complete certainty in observing the higher worlds. Hitherto he could never know positively whether the things he saw were rightly seen. A regular understanding, too, is now at last possible
   p. 84
  --
  At this stage of initiation there are duties to be performed for which no outward stimulus is given. The candidate will not be moved to action by external pressure, but only through adherence to the rules of conduct revealed to him in the occult script. He must now show in this second trial that, led by such rules, he can act with the same firmness and precision with which, for instance, an official performs the duties that belong to him. For this purpose, and in the course of his further training, he will find himself faced by a certain definite task. He must perform some action in consequence of observations made on the basis of what he has learned during preparation and enlightenment. The nature of this action can be understood by means of the occult script with
   p. 87
  --
   be guided only by the results of his higher perception and reading of the occult script, in order to produce the changes in question in these higher regions of existence. Should he, in the course of his activity, introduce any of his own opinions and desires, or should he diverge for one moment from the laws which he has recognized to be right, in order to follow his own willful inclination, then the result produced would differ entirely from what was intended. He would lose sight of the goal to which his action tended, and confusion would result. Hence ample opportunity is given him in the course of this trial to develop self-control. This is the object in view. Here again, this trial can be more easily passed by those whose life, before initiation, has led them to acquire self-control. Anyone having acquired the faculty of following high principles and ideals, while putting into the background all personal predilection; anyone capable of always performing his duty, even though inclinations and sympathies would like to seduce him from this duty-such a person is unconsciously an initiate in the midst of ordinary life. He will need but little to succeed in this particular trial. Indeed, a certain
   p. 89

1.02 - The Ultimate Path is Without Difficulty, #The Blue Cliff Records, #Yuanwu Keqin, #Zen
  Diamond Cutter scripture in western Shu (Szechuan). Accord
  ing to what it says in that teaching, in the process of the
  --
  said, "Commentaries on the Diamond Cutter scripture." The
  old woman said, "I have a question for you: if you can answer it

1.031 - Intense Aspiration, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
  What we should do is, together with our effort at change of physical atmosphere, also try to bring about a gradual change in our internal atmosphere by resorting to certain spiritual disciplines, such as the utilisation of the time on hand for certain definite chosen purposes. When we live in a particular place we have left our homes and have come to Uttarkashi, for instance how do we use our time? Do we go about from place to place, chatting? Then we should go back to our home and stay there. Why do we come to Uttarkashi? We have to utilise the time for a purpose which is more intimate to the object on hand than the way in which we lived earlier. Generally, people take to mantra purascharana a disciplined type of chanting of the mantra that has been given to them by their Guru and sacred study of scriptures, such as the Srimad Bhagavata or the Ramayana, or any other holy text which is conducive to pinpointing the mind on the liberation of the soul, which is the ultimate objective.
  Another great helpful factor is observing mouna or not talking, or at least talking only when it is necessary. Talking only when it is necessary means we will talk only when it is absolutely impossible to avoid talking; otherwise, we will not talk. Why do we go on talking with everyone? There is no necessity. We should regard ourselves as real seekers and not merely as jokers with truth, and try to open our mouths only when it is necessary, and otherwise not open our mouths. It is necessary to open the mouth only when it has some connection with the purpose for which we have come here. When it has no connection, why do we talk? We should keep our mouths closed. This is not only a spiritual discipline but also a very helpful method of conserving energy, because much of the energy is lost in talking. If we do not speak for three days continuously, we will see what difference it makes. We will feel that there is so much of strength in us that we can walk even long distances without any feeling of fatigue. All our energy goes in speaking unnecessarily to anyone and anything that is in front of us, on any subject whatsoever.

10.35 - The Moral and the Spiritual, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
   A strange fascination for the forbidden fruit has gripped the modern mentality and the most significant part of the thing is that the forbidding comes from within oneself, not from any authority outside It is self-forbidden. We are reminded here of the Kantian moral absolute the categorical imperative. This is a gospel based upon the Christian and Semitic tradition, polished by the Greek (that is, Socratic) touch, quickened and sharpened by the intellectual and social stress of European Culture. India admitted no such moral absolute or mental categorical imperative. The urge of her spiritual consciousness was always to go beyond, beyond the dualities, beyond the trinities (the three gunas)all mental or scriptural rules and regulations. For her there is only one absolute the transcendent, the Supreme Divine himself the Brahman, nothing else, netaram.
   The Indian spiritual consciousness considers the secular distinction of good and evil as otiose: both are maya, there must neither be attachment to the Good, nor repulsion from Evil, the two, dwandwas, belong to the same category of relativity, that is, unreality.

1.037 - Preventing the Fall in Yoga, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
  Then doubts will start rising up in the mind and tell us all sorts of stories about our Guru and our sadhana, our scripture and religion, and everything. We will start doubting everything; and only a single doubt has to arise in order for ten doubts to rise up as the result of that one doubt. Then we will change the Guru. Many people change their Gurus, change the method of meditation, change the mantra and move from place to place, because they have found that there is something wrong. "Otherwise, why is it that I am not achieving anything after so many years of effort?" So, after vyadhi and styana comes samsaya or doubt. This is an obstacle, says Patanjali.
  We may doubt the existence of God Himself this is something that is not unexpected. "After all, is there such a thing called God? Buddha does not believe in God. Perhaps Buddha may be right. He never uttered a word about God. So why am I crying for Brahma, Vishnu, Siva and all that? They may not be there at all." These doubts also will arise. "If they are not there, why am I praying to them? And if they are there, why didn't Buddha mention them? Buddha was not a fool. And there are other religious teachers who do not mention these things. They have other methods, such as upasana meditation, vipasana meditation, and are all sorts of things.

1.03 - A Parable, #The Lotus Sutra, #Anonymous, #Various
  And will never think about heretical scriptures.
  O riputra! I say to you:

1.03 - Bloodstream Sermon, #The Zen Teaching of Bodhidharma, #Bodhidharma, #Buddhism
  language. Of what use are scriptures? But someone who sees his
  own nature finds the Way, even if he can't read a word. Someone

1.03 - Master Ma is Unwell, #The Blue Cliff Records, #Yuanwu Keqin, #Zen
  According to the Buddha Name scripture, a Sun Face Buddha
  lives in the world for eighteen hundred years, whereas a Moon

1.03 - PERSONALITY, SANCTITY, DIVINE INCARNATION, #The Perennial Philosophy, #Aldous Huxley, #Philosophy
  The scriptures say of human beings that there is an outward man and along with him an inner man.
  To the outward man belong those things that depend on the soul, but are connected with the flesh and are blended with it, and the co-operative functions of the several members, such as the eye, the ear, the tongue, the hand and so on.
  The scripture speaks of all this as the old man, the earthy man, the outward person, the enemy, the servant.
  Within us all is the other person, the inner man, whom the scripture calls the new man, the heavenly man, the young person, the friend, the aristocrat.
  Eckhart
  --
  The biographies of the saints testify unequivocally to the fact that spiritual training leads to a transcendence of personality, not merely in the special circumstances of battle, but in all circumstances and in relation to all creatures, so that the saint loves his enemies or, if he is a Buddhist, does not even recognize the existence of enemies, but treats all sentient beings, sub-human as well as human, with the same compassion and disinterested good will. Those who win through to the unitive knowledge of God set out upon their course from the most diverse starting points. One is a man, another a woman; one a born active, another a born contemplative. No two of them inherit the same temperament and physical constitution, and their lives are passed in material, moral and intellectual environments that are profoundly dissimilar. Nevertheless, insofar as they are saints, insofar as they possess the unitive knowledge that makes them perfect as their Father which is in heaven is perfect, they are all astonishingly alike. Their actions are uniformly selfless and they are constantly recollected, so that at every moment they know who they are and what is their true relation to the universe and its spiritual Ground. Of even plain average people it may be said that their name is Legionmuch more so of exceptionally complex personalities, who identify themselves with a wide diversity of moods, cravings and opinions. Saints, on the contrary, are neither double-minded nor half-hearted, but single and, however great their intellectual gifts, profoundly simple. The multiplicity of Legion has given place to one-pointedness not to any of those evil one-pointednesses of ambition or covetousness, or lust for power and fame, not even to any of the nobler, but still all too human one-pointednesses of art, scholarship and science, regarded as ends in themselves, but to the supreme, more than human one-pointedness that is the very being of those souls who consciously and consistently pursue mans final end, the knowledge of eternal Reality. In one of the Pali scriptures there is a significant anecdote about the Brahman Drona who, seeing the Blessed One sitting at the foot of a tree, asked him, Are you a deva? And the Exalted One answered, I am not. Are you a gandharva? I am not, Are you a yaksha? I am not. Are you a man? I am not a man. On the Brahman asking what he might be, the Blessed One replied, Those evil influences, those cravings, whose non-destruction would have individualized me as a deva, a gandharva, a yaksha (three types of supernatural being), or a man, I have completely annihilated. Know therefore that I am Buddha.
  Here we may remark in passing that it is only the one-pointed, who are truly capable of worshipping one God. Monotheism as a theory can be entertained even by a person whose name is Legion. But when it comes to passing from theory to practice, from discursive knowledge about to immediate acquaintance with the one God, there cannot be monotheism except where there is singleness of heart. Knowledge is in the knower according to the mode of the knower. Where the knower is poly-psychic the universe he knows by immediate experience is polytheistic. The Buddha declined to make any statement in regard to the ultimate divine Reality. All he would talk about was Nirvana, which is the name of the experience that comes to the totally selfless and one-pointed. To this same experience others have given the name of union with Brahman, with Al Haqq, with the immanent and transcendent Godhead. Maintaining, in this matter, the attitude of a strict operationalist, the Buddha would speak only of the spiritual experience, not of the metaphysical entity presumed by the theologians of other religions, as also of later Buddhism, to be the object and (since in contemplation the knower, the known and the knowledge are all one) at the same time the subject and substance of that experience.
  When a man lacks discrimination, his will wanders in all directions, after innumerable aims. Those who lack discrimination may quote the letter of the scripture; but they are really denying its inner truth. They are full of worldly desires and hungry for the rewards of heaven. They use beautiful figures of speech; they teach elaborate rituals, which are supposed to obtain pleasure and power for those who practice them. But, actually, they understand nothing except the law of Karma that chains men to rebirth.
  Those whose discrimination is stolen away by such talk grow deeply attached to pleasure and power. And so they are unable to develop that one-pointed concentration of the will, which leads a man to absorption in God.
  --
  The Logos passes out of eternity into time for no other purpose than to assist the beings, whose bodily form he takes, to pass out of time into eternity. If the Avatars appearance upon the stage of history is enormously important, this is due to the fact that by his teaching he points out, and by his being a channel of grace and divine power he actually is, the means by which human beings may transcend the limitations of history. The author of the Fourth Gospel affirms that the Word became flesh; but in another passage he adds that the flesh profiteth nothingnothing, that is to say, in itself, but a great deal, of course, as a means to the union with immanent and transcendent Spirit. In this context it is very interesting to consider the development of Buddhism. Under the forms of religious or mystical imagery, writes R. E. Johnston in his Buddhist China, the Mahayana expresses the universal, whereas Hinayana cannot set itself free from the domination of historical fact. In the words of an eminent orientalist, Ananda K. Coomaraswamy, The Mahayanist believer is warnedprecisely as the worshipper of Krishna is warned in the Vaishnavite scriptures that the Krishna Lila is not a history, but a process for ever unfolded in the heart of man that matters of historical fact are without religious significance (except, we should add, insofar as they point to or themselves constitute the meanswhe ther remote or proximate, whether political, ethical or spiritualby which men may come to deliverance from selfness and the temporal order.)
  In the West, the mystics went some way towards liberating Christianity from its unfortunate servitude to historic fact. (or, to be more accurate, to those various mixtures of contemporary record with subsequent inference and phantasy, which have, at different epochs, been accepted as historic fact). From the writings of Eckhart, Tauler and Ruysbroeck, of Boehme, William Law and the Quakers, it would be possible to extract a spiritualized and universalized Christianity, whose narratives should refer, not to history as it was, or as someone afterwards thought it ought to be, but to processes forever unfolded in the heart of man. But unfortunately the influence of the mystics was never powerful enough to bring about a radical Mahayanist revolution in the West. In spite of them, Christianity has remained a religion in which the pure Perennial Philosophy has been overlaid, now more, now less, by an idolatrous preoccupation with events and things in timeevents and things regarded not merely as useful means, but as ends, intrinsically sacred and indeed divine. Moreover such improvements on history as were made in the course of centuries were, most imprudently, treated as though they themselves were a part of historya procedure which put a powerful weapon into the hands of Protestant and, later, of Rationalist controversialists. How much wiser it would have been to admit the perfectly avowable fact that, when the sternness of Christ the Judge had been unduly emphasized, men and women felt the need of personifying the divine compassion in a new form, with the result that the figure of the Virgin, mediatrix to the mediator, came into increased prominence. And when, in course of time, the Queen of Heaven was felt to be too awe-inspiring, compassion was re-personified in the homely figure of St. Joseph, who thus became me thator to the me thatrix to the me thator. In exactly the same way Buddhist worshippers felt that the historic Sakyamuni, with his insistence on recollectedness, discrimination and a total dying to self as the principal means of liberation, was too stern and too intellectual. The result was that the love and compassion which Sakyamuni had also inculcated came to be personified in Buddhas such as Amida and Maitreyadivine characters completely removed from history, inasmuch as their temporal career was situated somewhere in the distant past or distant future. Here it may be remarked that the vast numbers of Buddhas and Bodhisattvas, of whom the Mahayanist theologians speak, are commensurate with the vastness of their cosmology. Time, for them, is beginningless, and the innumerable universes, every one of them supporting sentient beings of every possible variety, are born, evolve, decay and the, only to repeat the same cycleagain and again, until the final inconceivably remote consummation, when every sentient being in all the worlds shall have won to deliverance out of time into eternal Suchness or Buddhahood This cosmological background to Buddhism has affinities with the world picture of modern astronomyespecially with that version of it offered in the recently published theory of Dr. Weiszcker regarding the formation of planets. If the Weiszcker hypothesis is correct, the production of a planetary system would be a normal episode in the life of every star. There are forty thousand million stars in our own galactic system alone, and beyond our galaxy other galaxies, indefinitely. If, as we have no choice but to believe, spiritual laws governing consciousness are uniform throughout the whole planet-bearing and presumably life-supporting universe, then certainly there is plenty of room, and at the same time, no doubt, the most agonizing and desperate need, for those innumerable redemptive incarnations of Suchness, upon whose shining multitudes the Mahayanists love to dwell.

1.03 - Reading, #Walden, and On The Duty Of Civil Disobedience, #Henry David Thoreau, #Philosophy
  Those who have not learned to read the ancient classics in the language in which they were written must have a very imperfect knowledge of the history of the human race; for it is remarkable that no tran script of them has ever been made into any modern tongue, unless our civilization itself may be regarded as such a tran script. Homer has never yet been printed in English, nor schylus, nor Virgil evenworks as refined, as solidly done, and as beautiful almost as the morning itself; for later writers, say what we will of their genius, have rarely, if ever, equalled the elaborate beauty and finish and the lifelong and heroic literary labors of the ancients. They only talk of forgetting them who never knew them. It will be soon enough to forget them when we have the learning and the genius which will enable us to attend to and appreciate them. That age will be rich indeed when those relics which we call Classics, and the still older and more than classic but even less known scriptures of the nations, shall have still further accumulated, when the Vaticans shall be filled with Vedas and
  Zendavestas and Bibles, with Homers and Dantes and Shakespeares, and all the centuries to come shall have successively deposited their trophies in the forum of the world. By such a pile we may hope to scale heaven at last.
  --
  English books will find how many with whom he can converse about it? Or suppose he comes from reading a Greek or Latin classic in the original, whose praises are familiar even to the so called illiterate; he will find nobody at all to speak to, but must keep silence about it. Indeed, there is hardly the professor in our colleges, who, if he has mastered the difficulties of the language, has proportionally mastered the difficulties of the wit and poetry of a Greek poet, and has any sympathy to impart to the alert and heroic reader; and as for the sacred scriptures, or Bibles of mankind, who in this town can tell me even their titles? Most men do not know that any nation but the Hebrews have had a scripture. A man, any man, will go considerably out of his way to pick up a silver dollar; but here are golden words, which the wisest men of antiquity have uttered, and whose worth the wise of every succeeding age have assured us of;and yet we learn to read only as far as Easy Reading, the primers and class-books, and when we leave school, the Little Reading, and story books, which are for boys and beginners; and our reading, our conversation and thinking, are all on a very low level, worthy only of pygmies and manikins.
  I aspire to be acquainted with wiser men than this our Concord soil has produced, whose names are hardly known here. Or shall I hear the name of Plato and never read his book? As if Plato were my townsman and I never saw him,my next neighbor and I never heard him speak or attended to the wisdom of his words. But how actually is it? His Dialogues, which contain what was immortal in him, lie on the next shelf, and yet

1.03 - The Syzygy - Anima and Animus, #Aion, #Carl Jung, #Psychology
  6 "For the scripture says, God made man male and female; the male is Christ,
  the female is the Church." - Second Epistle of Clement to the Corinthians, xiv, 2

1.03 - To Layman Ishii, #Beating the Cloth Drum Letters of Zen Master Hakuin, #unset, #Zen
  Today's students lack this extensive knowledge of the scriptures or precepts. Because of that, they confound their own feelings, perceptions, and understanding for absolute truth, go around shooting off their mouths and retailing their half-baked ideas to others, and end up making a total waste of their lives.
  "Observe the manner in which a clear-eyed teacher like Chen Tsun-su was able unequivocally to affirm Lin-chi: 'Your practice is pure and genuine!' That purity and that genuineness of practice are extremely difficult to attain, even if a student devotes an entire lifetime to Zen training. However, once you attain it, you are, without any doubt, a tiger that has sprouted wings.l You should never doubt that you yourself have such a capacity.

1.03 - VISIT TO VIDYASAGAR, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
  MASTER: "A man had two sons. The father sent them to a preceptor to learn the Knowledge of Brahman. After a few years they returned from their preceptor's house and bowed low before their father. Wanting to measure the depth of their knowledge of Brahman, he first questioned the older of the two boys. 'My child,' he said, 'You have studied all the scriptures. Now tell me, what is the nature of Brahman?' The boy began to explain Brahman by reciting various texts from the Vedas. The father did not say anything. Then he asked the younger son the same question. But the boy remained silent and stood with eyes cast down. No word escaped his lips. The father was pleased and said to him: 'My child, you have understood a little of Brahman. What It is cannot be expressed in words.'
  Parable of ant and sugar hill
  --
  It is She, the scriptures say, that is the Inner Self Of the yogi, who in Self discovers all his joy; She that, of Her own sweet will, inhabits every living thing.
  The macrocosm and microcosm rest in the Mother's womb; Now do you see how vast it is? In the Muladhara The yogi meditates on Her, and in the Sahasrara: Who but iva has beheld Her as She really is?

1.040 - Re-Educating the Mind, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
  This is the purpose of satsanga, listening to discourses of a spiritual and philosophical nature, study of sacred scriptures, svadhyaya, etc. Direct meditation is impossible, for reasons well known; therefore, we go to satsangas and listen to discourses touching upon various subjects, though within a limited circle. The subjects are variegated and yet limited to certain features. Similar is the case with study. If we study the Srimad Bhagavata, or the Ramayana, or the Bhagavadgita, the mind is given a large scope to think of many ideas and to bring into it notions of various features of reality. Though there is a variety presented in the study of a scripture of this kind, this variety is ultimately limited to a particular pattern of thinking.
  The whole of the Srimad Bhagavata, to give only one concrete example, is filled with thousands of ideas expressed in various ways. Though these ideas are many, they are kindred, essentially. Therefore, the chaotic movement of the mind is brought to an end, and the first step is taken in bringing the mind under control by allowing it to think of sympathetic thoughts, though they may be variegated in their structure. There are several members in a family. Each person is different from the other one is tall, one is short, one is very active, another is idle, one is working outside, one is working inside, one is a man, and another is a woman. There are all sorts of persons in a family, but yet they are kindred spirits there is a sympathy of character among them. This is the reason why we call them a family, though they are individuals of different natures altogether. Likewise is any type of organisation it may be an institution; it may be a parliament; it may be a government or it may even be an army it may be anything. In the army we have thousands of people of different natures, yet they are brought together by a single ideal.

1.04 - ADVICE TO HOUSEHOLDERS, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
  If you but have pure love and follow the scriptures' rule.
  Within those ocean depths, as well,

1.04 - GOD IN THE WORLD, #The Perennial Philosophy, #Aldous Huxley, #Philosophy
  St. Bernard speaks in what seems a similar strain. What I know of the divine sciences and Holy scripture, I learnt in woods and fields. I have had no other masters than the beeches and the oaks. And in another of his letters he says: Listen to a man of experience: thou wilt learn more in the woods than in books. Trees and stones will teach thee more than thou canst acquire from the mouth of a magister. The phrases are similar; but their inner significance is very different. In Augustines language, God alone is to be enjoyed; creatures are not to be enjoyed but usedused with love and compassion and a wondering, detached appreciation, as means to the knowledge of that which may be enjoyed. Wordsworth, like almost all other literary Nature-worshippers, preaches the enjoyment of creatures rather than their use for the attainment of spiritual endsa use which, as we shall see, entails much self-discipline for the user. For Bernard it goes without saying that his correspondents are actively practising this self-discipline and that Nature, though loved and heeded as a teacher, is only being used as a means to God, not enjoyed as though she were God. The beauty of flowers and landscape is not merely to be relished as one wanders lonely as a cloud about the countryside, is not merely to be pleasurably remembered when one is lying in vacant or in pensive mood on the sofa in the library, after tea. The reaction must be a little more strenuous and purposeful. Here, my brothers, says an ancient Buddhist author, are the roots of trees, here are empty places; meditate. The truth is, of course, that the world is only for those who have deserved it; for, in Philos words, even though a man may be incapable of making himself worthy of the creator of the cosmos, yet he ought to try to make himself worthy of the cosmos. He ought to transform himself from being a man into the nature of the cosmos and become, if one may say so, a little cosmos. For those who have not deserved the world, either by making themselves worthy of its creator (that is to say, by non-attachment and a total self-naughting), or, less arduously, by making themselves worthy of the cosmos (by bringing order and a measure of unity to the manifold confusion of undisciplined human personality), the world is, spiritually speaking, a very dangerous place.
  That Nirvana and Samsara are one is a fact about the nature of the universe; but it is a fact which cannot be fully realized or directly experienced, except by souls far advanced in spirituality. For ordinary, nice, unregenerate people to accept this truth by hearsay, and to act upon it in practice, is merely to court disaster. All the dismal story of antinomianism is there to warn us of what happens when men and women make practical applications of a merely intellectual and unrealized theory that all is God and God is all. And hardly less depressing than the spectacle of antinomianism is that of the earnestly respectable well-rounded life of good citizens who do their best to live sacramentally, but dont in fact have any direct acquaintance with that for which the sacramental activity really stands. Dr. Oman, in his The Natural and the Supernatural, writes at length on the theme that reconciliation to the evanescent is revelation of the eternal; and in a recent volume, Science, Religion and the Future, Canon Raven applauds Dr. Oman for having stated the principles of a theology, in which there could be no ultimate antithesis between nature and grace, science and religion, in which, indeed, the worlds of the scientist and the theologian are seen to be one and the same. All this is in full accord with Taoism and Zen Buddhism and with such Christian teachings as St. Augustines Ama et fac quod vis and Father Lallemants advice to theocentric contemplatives to go out and act in the world, since their actions are the only ones capable of doing any real good to the world. But what neither Dr. Oman nor Canon Raven makes sufficiently clear is that nature and grace, Samsara and Nirvana, perpetual perishing and eternity, are really and experientially one only to persons who have fulfilled certain conditions. Fac quod vis in the temporal world but only when you have learnt the infinitely difficult art of loving God with all your mind and heart and your neighbor as yourself. If you havent learnt this lesson, you will either be an antinomian eccentric or criminal or else a respectable well-rounded-lifer, who has left himself no time to understand either nature or grace. The Gospels are perfectly clear about the process by which, and by which alone, a man may gain the right to live in the world as though he were at home in it: he must make a total denial of selfhood, submit to a complete and absolute mortification. At one period of his career, Jesus himself seems to have undertaken austerities, not merely of the mind, but of the body. There is the record of his forty days fast and his statement, evidently drawn from personal experience, that some demons cannot be cast out except by those who have fasted much as well as prayed. (The Cur dArs, whose knowledge of miracles and corporal penance was based on personal experience, insists on the close correlation between severe bodily austerities and the power to get petitionary prayer answered in ways that are sometimes supernormal.) The Pharisees reproached Jesus because he came eating and drinking, and associated with publicans and sinners; they ignored, or were unaware of, the fact that this apparently worldly prophet had at one time rivalled the physical austerities of John the Baptist and was practising the spiritual mortifications which he consistently preached. The pattern of Jesus life is essentially similar to that of the ideal sage, whose career is traced in the Oxherding Pictures, so popular among Zen Buddhists. The wild ox, symbolizing the unregenerate self, is caught, made to change its direction, then tamed and gradually transformed from black to white. Regeneration goes so far that for a time the ox is completely lost, so that nothing remains to be pictured but the full-orbed moon, symbolizing Mind, Suchness, the Ground. But this is not the final stage. In the end, the herdsman comes back to the world of men, riding on the back of his ox. Because he now loves, loves to the extent of being identified with the divine object of his love, he can do what he likes; for what he likes is what the Nature of Things likes. He is found in company with wine-bibbers and butchers; he and they are all converted into Buddhas. For him, there is complete reconciliation to the evanescent and, through that reconciliation, revelation of the eternal. But for nice ordinary unregenerate people the only reconciliation to the evanescent is that of indulged passions, of distractions submitted to and enjoyed. To tell such persons that evanescence and eternity are the same, and not immediately to qualify the statement, is positively fatalfor, in practice, they are not the same except to the saint; and there is no record that anybody ever came to sanctity, who did not, at the outset of his or her career, behave as if evanescence and eternity, nature and grace, were profoundly different and in many respects incompatible. As always, the path of spirituality is a knife-edge between abysses. On one side is the danger of mere rejection and escape, on the other the danger of mere acceptance and the enjoyment of things which should only be used as instruments or symbols. The versified caption which accompanies the last of the Oxherding Pictures runs as follows.

1.04 - KAI VALYA PADA, #Patanjali Yoga Sutras, #Swami Vivekananda, #Hinduism
  glory of man. All the scriptures sing the glory of man, of the
  soul, and then, with the same breath, they preach this Karma.
  --
  Buddhistic scriptures sums up what is meant by the Buddha
  (which is the name of a state). It defines it as infinite

1.04 - Narayana appearance, in the beginning of the Kalpa, as the Varaha (boar), #Vishnu Purana, #Vyasa, #Hinduism
  The auspicious supporter of the world, being thus hymned by the earth, emitted a low murmuring sound, like the chanting of the Sāma veda; and the mighty boar, whose eyes were like the lotus, and whose body, vast as the Nīla mountain, was of the dark colour of the lotus leaves[6], uplifted upon his ample tusks the earth from the lowest regions. As he reared up his head, the waters shed from his brow purified the great sages, Sanandana and others, residing in the sphere of the saints. Through the indentations made by his hoofs, the waters rushed into the lower worlds with a thundering noise. Before his breath, the pious denizens of Janaloka were scattered, and the Munis sought for shelter amongst the bristles upon the scriptural body of the boar, trembling as he rose up, supporting the earth, and dripping with moisture. Then the great sages, Sanandana and the rest, residing continually in the sphere of saints, were inspired with delight, and bowing lowly they praised the stern-eyed upholder of the earth.
  The Yogis.-Triumph, lord of lords supreme; Keśava, sovereign of the earth, the wielder of the mace, the shell, the discus, and the sword: cause of production, destruction, and existence. THOU ART, oh god: there is no other supreme condition, but thou. Thou, lord, art the person of sacrifice: for thy feet are the Vedas; thy tusks are the stake to which the victim is bound; in thy teeth are the offerings; thy mouth is the altar; thy tongue is the fire; and the hairs of thy body are the sacrificial grass. Thine eyes, oh omnipotent, are day and night; thy head is the seat of all, the place of Brahma; thy mane is all the hymns of the Vedas; thy nostrils are all oblations: oh thou, whose snout is the ladle of oblation; whose deep voice is the chanting of the Sāma veda; whose body is the hall of sacrifice; whose joints are the different ceremonies; and whose ears have the properties of both voluntary and obligatory rites[7]: do thou, who art eternal, who art in size a mountain, be propitious. We acknowledge thee, who hast traversed the world, oh universal form, to be the beginning, the continuance, and the destruction of all things: thou art the supreme god. Have pity on us, oh lord of conscious and unconscious beings. The orb of the earth is seen seated on the tip of thy tusks, as if thou hadst been sporting amidst a lake where the lotus floats, and hadst borne away the leaves covered with soil. The space between heaven and earth is occupied by thy body, oh thou of unequalled glory, resplendent with the power of pervading the universe, oh lord, for the benefit of all. Thou art the aim of all: there is none other than thee, sovereign of the world: this is thy might, by which all things, fixed or movable, are pervaded. This form, which is now beheld, is thy form, as one essentially with wisdom. Those who have not practised devotion, conceive erroneously of the nature of the world. The ignorant, who do not perceive that this universe is of the nature of wisdom, and judge of it as an object of perception only, are lost in the ocean of spiritual ignorance. But they who know true wisdom, and whose minds are pure, behold this whole world as one with divine knowledge, as one with thee, oh god. Be favourable, oh universal spirit: raise up this earth, for the habitation of created beings. Inscrutable deity, whose eyes are like lotuses, give us felicity. Oh lord, thou art endowed with the quality of goodness: raise up, Govinda, this earth, for the general good. Grant us happiness, oh lotus-eyed. May this, thy activity in creation, be beneficial to the earth. Salutation to thee. Grant us happiness, oh lotus-eyed. arāśara said:-
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  [2]: This is the well known verse of Menu, I. 8, rendered by Sir Wm. Jones, "The waters are called Nārā, because they were the production of Nara, or 'the spirit' of God; and since they were his first Ayana, or place of motion, he thence is named Nārāyaṇa, or 'moving on the waters.'" Now although there can be little doubt that this tradition is in substance the same as that of Genesis, the language of the translation is perhaps more scriptural than p. 28 is quite warranted. The waters, it is said in the text of Manu, were the progeny of Nara, which Kullūka Bhaṭṭa explains Paramātmā, the supreme soul; that is, they were the first productions of God in creation. Ayana, instead of 'place of motion,' is explained by Āsraya, place of abiding.' Nārāyaṇa means, therefore, he whose place of abiding was the deep. The verse occurs in several of the Purāṇas, in general in nearly the same words, and almost always as a quotation, as in our text The Li
  ga, Vāyu, and Mārkaṇḍeya Purāṇas, citing the same, have a somewhat different reading; or, 'Āpa (is the same as) Nārā, or bodies (Tanava); such, we have heard (from the Vedas), is the meaning of Apa. He who sleeps in them, is thence called Nārāyaṇa.' The ordinary sense of Tanu is either 'minute' or 'body,' nor does it occur amongst the synonymes of water in the Nirukta of the Vedas. It may perhaps be intended to say, that Nārā or Apa has the meaning of 'bodily forms,' in which spirit is enshrined, and of which the waters, with Viṣṇu resting upon them, are a type; for there is much mysticism in the Purāṇas in which the passage thus occurs. Even in them, however, it is introduced in the usual manner, by describing the world as water alone, and Viṣṇu reposing upon the deep: ### Vāyu P. The Bhāgavata has evidently attempted to explain the ancient text: 'When the embodied god in the beginning divided the mundane egg, and issued forth, then, requiring an abiding-place, he created the waters: the pure created the pure. In them, his own created, he abode for a thousand years, and thence received the name of Nārāyaṇa: the waters being the product of the embodied deity:' i. e. they were the product of Nara or Viṣṇu, as the first male or Virāt, and were therefore termed Nāra: and from there being his Ayana or Sthāna, his 'abiding place,' comes his epithet of Nārāyaṇa.

1.04 - On blessed and ever-memorable obedience, #The Ladder of Divine Ascent, #Saint John of Climacus, #unset
  It is dangerous for an inexperienced soldier to leave his regiment and engage in single combat. And it is not without peril for a monk to attempt the solitary life before he has had much experience and practice in the struggle with the animal passions. The one subjects his body to danger, the other risks his soul. Two are better than one, says scripture.3 That is to say, It is better for a son to be with his father, and to struggle with his attachments with the help of the divine power of the Holy Spirit. He who deprives a blind man of his leader, a flock of its shepherd, a lost man of his guide, a child of its father, a patient of his doctor, a ship of its pilot, imperils all. And he who attempts unaided to struggle with the spirits gets killed by them.
  1 Or, hesychast.

1.04 - Reality Omnipresent, #The Life Divine, #Sri Aurobindo, #Integral Yoga
  6:But, still, there is the absolute withdrawal, there is the NonBeing. Out of the Non-Being, says the ancient scripture, Being appeared.2 Then into the Non-Being it must surely sink again. If the infinite indiscriminate Existence permits all possibilities of discrimination and multiple realisation, does not the NonBeing at least, as primal state and sole constant reality, negate and reject all possibility of a real universe? The Nihil of certain Buddhist schools would then be the true ascetic solution; the Self, like the ego, would be only an ideative formation by an illusory phenomenal consciousness.
  7:But again we find that we are being misled by words, deceived by the trenchant oppositions of our limited mentality with its fond reliance on verbal distinctions as if they perfectly represented ultimate truths and its rendering of our supramental experiences in the sense of those intolerant distinctions. NonBeing is only a word. When we examine the fact it represents, we can no longer be sure that absolute non-existence has any better chance than the infinite Self of being more than an ideative formation of the mind. We really mean by this Nothing something beyond the last term to which we can reduce our purest conception and our most abstract or subtle experience of actual being as we know or conceive it while in this universe. This Nothing then is merely a something beyond positive conception. We erect a fiction of nothingness in order to overpass, by the method of total exclusion, all that we can know and consciously are. Actually when we examine closely the Nihil of certain philosophies, we begin to perceive that it is a zero which is All or an indefinable Infinite which appears to the mind a blank, because mind grasps only finite constructions, but is in fact the only true Existence.3

1.04 - Te Shan Carrying His Bundle, #The Blue Cliff Records, #Yuanwu Keqin, #Zen
  Diamond Cutter scripture in western Shu (Szechuan). Accord
  ing to what it says in that teaching, in the process of the
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  said, "Commentaries on the Diamond Cutter scripture." The
  old woman said, "I have a question for you: if you can answer it

1.04 - The Core of the Teaching, #Essays On The Gita, #Sri Aurobindo, #Integral Yoga
  E KNOW the divine Teacher, we see the human disciple; it remains to form a clear conception of the doctrine. A clear conception fastening upon the essential idea, the central heart of the teaching is especially necessary here because the Gita with its rich and many-sided thought, its synthetical grasp of different aspects of the spiritual life and the fluent winding motion of its argument lends itself, even more than other scriptures, to one-sided misrepresentations born of a partisan intellectuality. The unconscious or half-conscious wresting of fact and word and idea to suit a preconceived notion or the doctrine or principle of one's preference is recognised by
  Indian logicians as one of the most fruitful sources of fallacy; and it is perhaps the one which it is most difficult for even the most conscientious thinker to avoid. For the human reason is incapable of always playing the detective upon itself in this respect; it is its very nature to seize upon some partial conclusion, idea, principle, become its partisan and make it the key to all truth, and it has an infinite faculty of doubling upon itself so as to avoid detecting in its operations this necessary and cherished weakness. The Gita lends itself easily to this kind of error, because it is easy, by throwing particular emphasis on one of its aspects or even on some salient and emphatic text and putting all the rest of the eighteen chapters into the background or making them a subordinate and auxiliary teaching, to turn it into a partisan of our own doctrine or dogma.
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  But at the present day, since in fact the modern mind began to recognise and deal at all with the Gita, the tendency is to subordinate its elements of knowledge and devotion, to take advantage of its continual insistence on action and to find in it a scripture of the Karmayoga, a Light leading us on the path of action, a Gospel of Works. Undoubtedly, the Gita is a Gospel of Works, but of works which culminate in knowledge, that is, in spiritual realisation and quietude, and of works motived by devotion, that is, a conscious surrender of one's whole self first into the hands and then into the being of the Supreme, and not at all of works as they are understood by the modern mind, not at all an action dictated by egoistic and altruistic, by personal,
  The Core of the Teaching
  --
  Arjuna must do is one from which his moral sense recoils. It is his duty to fight, you say? But that duty has now become to his mind a terrible sin. How does it help him or solve his difficulty, to tell him that he must do his duty disinterestedly, dispassionately? He will want to know which is his duty or how it can be his duty to destroy in a sanguinary massacre his kin, his race and his country. He is told that he has right on his side, but that does not and cannot satisfy him, because his very point is that the justice of his legal claim does not justify him in supporting it by a pitiless massacre destructive to the future of his nation. Is he then to act dispassionately in the sense of not caring whether it is a sin or what its consequences may be so long as he does his duty as a soldier? That may be the teaching of a State, of politicians, of lawyers, of ethical casuists; it can never be the teaching of a great religious and philosophical scripture which sets out to solve the problem of life and action from the
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   very roots. And if that is what the Gita has to say on a most poignant moral and spiritual problem, we must put it out of the list of the world's scriptures and thrust it, if anywhere, then into our library of political science and ethical casuistry.
  Undoubtedly, the Gita does, like the Upanishads, teach the equality which rises above sin and virtue, beyond good and evil, but only as a part of the Brahmic consciousness and for the man who is on the path and advanced enough to fulfil the supreme rule. It does not preach indifference to good and evil for the ordinary life of man, where such a doctrine would have the most pernicious consequences. On the contrary it affirms that the doers of evil shall not attain to God. Therefore if Arjuna simply seeks to fulfil in the best way the ordinary law of man's life, disinterested performance of what he feels to be a sin, a thing of Hell, will not help him, even though that sin be his duty as a soldier. He must refrain from what his conscience abhors though a thousand duties were shattered to pieces.
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   metaphysical subtleties and far-off spiritual seekings, eager to get to work and, like Arjuna himself, mainly concerned for a workable law of works, a dharma. But it is the wrong way to handle this scripture.
  The equality which the Gita preaches is not disinterestedness, - the great comm and to Arjuna given after the foundation and main structure of the teaching have been laid and built,

1.04 - The Gods of the Veda, #Vedic and Philological Studies, #Sri Aurobindo, #Integral Yoga
  The immediate or at any rate the earliest known successors of the Rishis, the compilers of the Brahmanas, the writers of theUpanishads give a clear & definite answer to this question.The Upanishads everywhere rest their highly spiritual & deeply mystic doctrines on the Veda.We read in the Isha Upanishad of Surya as the Sun God, but it is the Sun of spiritual illumination, of Agni as the Fire, but it is the inner fire that burns up all sin & crookedness. In the Kena Indra, Agni & Vayu seek to know the supreme Brahman and their greatness is estimated by the nearness with which they touched him,nedistham pasparsha. Uma the daughter of Himavan, the Woman, who reveals the truth to them is clearly enough no natural phenomenon. In the Brihadaranyaka, the most profound, subtle & mystical of human scriptures, the gods & Titans are the masters, respectively, of good and of evil. In the Upanishads generally the word devah is used as almost synonymous with the forces & functions of sense, mind & intellect. The element of symbolism is equally clear. To the terms of the Vedic ritual, to their very syllables a profound significance is everywhere attached; several incidents related in the Upanishads show the deep sense then & before entertained that the sacrifices had a spiritual meaning which must be known if they were to be conducted with full profit or even with perfect safety. The Brahmanas everywhere are at pains to bring out a minute symbolism in the least circumstances of the ritual, in the clarified butter, the sacred grass, the dish, the ladle. Moreover, we see even in the earliest Upanishads already developed the firm outlines and minute details of an extraordinary psychology, physics, cosmology which demand an ancient development and centuries of Yogic practice and mystic speculation to account for their perfect form & clearness. This psychology, this physics, this cosmology persist almost unchanged through the whole history of Hinduism. We meet them in the Puranas; they are the foundation of the Tantra; they are still obscurely practised in various systems of Yoga. And throughout, they have rested on a declared Vedic foundation. The Pranava, the Gayatri, the three Vyahritis, the five sheaths, the five (or seven) psychological strata, (bhumi, kshiti of the Vedas), the worlds that await us, the gods who help & the demons who hinder go back to Vedic origins.All this may be a later mystic misconception of the hymns & their ritual, but the other hypothesis of direct & genuine derivation is also possible. If there was no common origin, if Greek & Indian separated during the naturalistic period of the common religion supposed to be recorded in the Vedas it is surprising that even the little we know of Greek rites & mysteries should show us ideas coincident with those of Indian Tantra & Yoga.
  When we go back to the Veda itself, we find in the hymns which are to us most easily intelligible by the modernity of their language, similar & decisive indications. The moralistic conception of Varuna, for example, is admitted even by the Europeans. We even find the sense of sin, usually supposed to be an advanced religious conception, much more profoundly developed in prehistoric India than it was in any other old Aryan nation even in historic times. Surely, this is in itself a significant indication. Surely, this conception cannot have become so clear & strong without a previous history in the earlier hymns. Nor is it psychologically possible that a cult capable of so advanced an idea, should have been ignorant of all other moral & intellectual conceptions reverencing only natural forces & seeking only material ends. Neither can there have been a sudden leap filled up only by a very doubtful henotheism, a huge hiatus between the naturalism of early Veda and the transcendentalism of the Vedic Brahmavada admittedly present in the later hymns. The European interpretation in the face of such conflicting facts threatens to become a brilliant but shapeless monstrosity. And is there no symbolism in the details of the Vedic sacrifice? It seems to me that the peculiar language of the Veda has never been properly studied or appreciated in this connection. What are we to say of the Vedic anxiety to increase Indra by the Soma wine? Of the de scription of Soma as the amritam, the wine of immortality, & of its forces as the indavah or moon powers? Of the constant sense of the attacks delivered by the powers of evil on the sacrifice? Of the extraordinary powers already attri buted to the mantra & the sacrifice? Have the neshtram potram, hotram of the Veda no symbolic significance? Is there no reason for the multiplication of functions at the sacrifice or for the subtle distinctions between Gayatrins, Arkins, Brahmas? These are questions that demand a careful consideration which has never yet been given for the problems they raise.
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  We have therefore as a result of a long and careful examination the clear conviction that certainly in this poem of Madhuchchhanda, probably in others of his hymns, perhaps in all we have an invocation to subjective Nature powers, a symbolic sacrifice, a spiritual, moral & subjective effort & purpose. And if many other suktas in this & other Mandalas confirm the evidence of this third hymn of the Rigveda, shall we not say that here we have the true Veda as the Rishis understood it and that this was the reason why all the ancient thinkers looked on the hymns with so deep-seated a reverence that even after they came to be used merely as ceremonial liturgies at a material sacrifice, even after the Buddha impatiently flung them aside, the writer of the Gita had to look beyond them & Shankara respectfully put them on the shelf of neglect as useless for spiritual purposes, even after they have ceased to be used and almost to be read, the most spiritual nation on the face of the earth still tenaciously, by a sort of divine instinct, clings to them as its supreme scriptures & refers back all its spirituality and higher knowledge to the Vedas? Let us proceed and see whether this is not the truest as well as the noblest reading of the riddle the real root of Gods purpose in maintaining this our ancient faith and millennial tradition.
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1.04 - The Paths, #A Garden of Pomegranates - An Outline of the Qabalah, #Israel Regardie, #Occultism
  Hence we find numbers and figures used as an expression and a record of thought in every archaic scripture." Ginsburg, referring to the Hebrew Alphabet, states : " Since the letters have no absolute value - nor can they be used as mere forms, but serve as the medium between essence and forms, and like words, assume the relation of form to the real essence, and of essence to the embryo and unexpressed
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1.052 - Yoga Practice - A Series of Positive Steps, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
  In the Vedanta Shastras and yoga scriptures we are told that there are at least three types of self: the external, the personal and the Absolute. We are not concerned here with the Absolute Self. This is not the Self that we are going to restrain. It is, on the other hand, the Self that we are going to realise. That is the goal the Absolute Self which is unrelated to any other factor or condition, which stands on its own right and which is called the Infinite, the Eternal, and so on. But the self that is to be restrained is that peculiar feature in consciousness which will not fulfil the conditions of absoluteness at any time. It is always relative. It is the relative self that is to be subjected to restraint for the sake of the realisation of the Absolute Self. The aim of life is the Absolute, and not the relative. The experience of the relative, the attachment of the mind in respect of the relative, and the exclusive emphasis on the importance of relativity in things is the obstructing factor in ones enterprise towards the realisation of the Absolute Self.
  The external self is that atmosphere that we create around us which we regard as part of our life and to which we get attached in some manner or the other. This is also a self. A family is a self, for example, to mention a small instance. The head of the family regards the family as his own self, though it is not true that the family is his self. He has got an attachment to the members of the family. The attachment is a movement of his own consciousness in respect of those objects around him known as the members of the family. This permeating of his consciousness around that atmosphere known as the family creates a false, externalised self in his experience. This social self, we may call it, is the external self, inasmuch as this externalised, social self is not the real Self. Because it is conditioned by certain factors which are subject to change, it has to be restrained. That is one of the necessities of self-restraint.

1.053 - A Very Important Sadhana, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
  There are various other methods of svadhyaya. It depends upon the state of ones mind how far it is concentrated, how far it is distracted, what these desires are that have remained frustrated inside, what the desires are that have been overcome, and so on. The quality of the mind will determine the type of svadhyaya that one has to practise. If nothing else is possible, do parayana of holy scriptures the Sundara Kanda, the Valmiki Ramayana or any other Ramayana, the Srimad Bhagavata Mahapurana, the Srimad Bhagavadgita, the Moksha Dharma Parva of the Mahabharata, the Vishnu Purana, or any other suitable spiritual text. It has to be recited again and again, every day at a specific time, in a prescribed manner, so that this sadhana itself becomes a sort of meditation because what is meditation but hammering the mind, again and again, into a single idea? Inasmuch as abstract meditations are difficult for beginners, these more concrete forms of it are suggested. There are people who recite the Ramayana or the Srimad Bhagavata 108 times. They conduct Bhagvat Saptaha. The purpose is to bring the mind around to a circumscribed form of function and not allow it to roam about on the objects of sense.
  The mind needs variety, no doubt, and it cannot exist without variety. It always wants change. Monotonous food will not be appreciated by the mind, and so the scriptures, especially the larger ones like the Epics, the Puranas, the Agamas, the Tantras, etc., provide a large area of movement for the mind wherein it leisurely roams about to its deep satisfaction, finds variety in plenty, reads stories of great saints and sages, and feels very much thrilled by the anecdotes of Incarnations, etc. But at the same time, with all its variety, we will find that it is a variety with a unity behind it. There is a unity of pattern, structure and aim in the presentation of variety in such scriptures as the Srimad Bhagavata, for instance. There are 18,000 verses giving all kinds of detail everything about the cosmic creation and the processes of the manifestation of different things in their gross form, subtle form, causal form, etc. Every type of story is found there. It is very interesting to read it. The mind rejoices with delight when going through such a large variety of detail with beautiful comparisons, etc. But all this variety is like a medical treatment by which we may give varieties of medicine with a single aim. We may give one tablet, one capsule, one injection, and all sorts of things at different times in a day to treat a single disease. The purpose is the continued assertion that God is All, and the whole of creation is a play of the glory of God.
  The goal of life in every stage of its manifestation is the vision of God, the experience of God, the realisation of God that God is the Supreme Doer and the Supreme Existence. This is the principle that is driven into the mind again and again by the Srimad Bhagavata Mahapurana or such similar texts. If a continued or sustained study of such scriptures is practised, it is purifying. It is a tapas by itself, and it is a study of the nature of ones own Self, ultimately. The word sva is used here to designate this process of study svadhyaya. Also, we are told in one sutra of Patanjali, tad drau svarpe avasthnam (I.3), that the seer finds himself in his own nature when the vrittis or the various psychoses of the mind are inhibited. The purpose of every sadhana is only this much: to bring the mind back to its original source.
  The variety of detail that is provided to the mind in the scriptures has an intention not to pamper or cajole the mind, but to treat the mind of its illness of distraction and attachment to external objects. The aim is highly spiritual. Sometimes it is held that japa of a mantra also is a part of svadhyaya. That is a more concentrated form of it, requiring greater willpower. It is not easy to do japa. We may study a book like the Srimad Bhagavata with an amount of concentration, but japa is a more difficult process because there we do not have variety. It is a single point at which the mind is made to move, with a single thought almost, with a single epithet or attribute to contemplate upon. It is almost like meditation, and is a higher step than the study of scriptures. Adepts in yoga often tell us that the chanting of a mantra like pranava is tantamount to svadhyaya.
  The point is that if you cannot do anything else, at least do this much. Take to regular study so that your day is filled with divine thoughts, philosophical ideas and moods which are spiritual in some way or the other. You may closet yourself in your study for hours together and browse through these profound texts, whatever be the nature of their presentation, because all these philosophical and spiritual presentations through the scriptures and the writings of other masters have one aim namely, the analysis of the structure of things, and enabling the mind to know the inner reality behind this structure. There is a threefold prong provided by Patanjali in this connection wherein he points out that self-control the control of the senses, austerity, or tapas together with svadhyaya, or study of sacred scriptures, will consummate in the adoration of God as the All-reality.
  The idea that God is extra-cosmic and outside us, incapable of approach, and that we are likely not to receive any response from Him in spite of our efforts at prayer, etc. all these ideas are due to certain encrustations in the mind, the tamasic qualities which cover the mind and make it again subtly tend towards objects of sense. The desire for objects of sense, subtly present in a very latent form in the subconscious level, becomes responsible for the doubt in the mind that perhaps there is no response from God. This is because our love is not for God it is for objects of sense, and for status in society and enjoyments of various types in the world. And when, through austerity, or tapas, we have put the senses down with the force of our thumb, there is a temporary cessation of their activity.
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  We are always in a mood of unhappiness. We cannot know what has happened to us. We are not satisfied neither with people, nor with our sadhana, nor with anything in this world. This disquiet, peacelessness and displeasure which can manifest as a sustained mood in spiritual seekers is due to the presence of the impressions left by frustrated desires. We have not withdrawn our senses from objects wantonly or deliberately, but we have withdrawn them due a pressure from scriptures, Guru, atmosphere, monastery, or other conditions.
  Sometimes factors which are extraneous become responsible for the practice that we have undergone or are undergoing; and because the heart is absent there, naturally the feeling of happiness is also not there. When the heart is not there, there cannot be joy. That is why it is suggested that the sadhana of self-control, or control of the senses, should be coupled with a deep philosophical knowledge and spiritual aspiration, which is what is indicated by the term svadhyaya, and the other term Ishvara pranidhana, which is adoration of God as the ultimate goal of life.
  The purpose of sense control, study of scripture and adoration of God is all single namely, the affirmation of the supremacy and the ultimate value of Godhead. This requires persistent effort, no doubt, and as has been pointed out earlier, it is a strenuous effort on the part of the mind to prevent the incoming of impressions of desire from objects outside on the one hand, and to create impressions of a positive character in the form of love of God on the other hand. Vijatiya vritti nirodha and sajatiya vritti pravah these two processes constitute sadhana. Vijatiya vritti nirodha means putting an end to all incoming impressions from external objects and allowing only those impressions which are conducive to contemplation on the Reality of God. Vijati means that which does not belong to our category, genus, or species.
  What is our species? It is not mankind, human nature, etc. Our species is a spiritual spark, a divine location in our centre. The soul that we are is the species that we are. So all impressions, thoughts, feelings and ideas which are in agreement with the character of the soul, which is our jati, or species, should be allowed, and anything that is contrary or different from this should not be allowed. The vijatiya vritti nirodha is the inhibition or putting an end to all those vrittis or modifications of the mind in respect of things outside, because the soul is not anything that is outside. Sajatiya vritti pravah is the movement like the flow of a river, or the pouring of oil continuously, without break, in a thread of such ideas which are of the character of the soul which is universality.
  This threefold effort namely, a positive effort at the control and restraint of the senses from direct action in respect of objects outside, deep study of scriptures which are wholly devoted to the liberation of the spirit from the beginning to the end, and a constant remembrance in ones mind that God is All with a surrender of oneself to His supremacy constitute a very important sadhana by itself, which is the meaning of this single sutra: tapa svdhyya varapraidhnni kriyyoga (II.1).

1.05 - Qualifications of the Aspirant and the Teacher, #Bhakti-Yoga, #Swami Vivekananda, #Hinduism
  In regard to the teacher, we must see that he knows the spirit of the scriptures. The whole world reads Bibles, Vedas, and Korans; but they are all only words, syntax, etymology, philology, the dry bones of religion. The teacher who deals too much in words and allows the mind to be carried away by the force of words loses the spirit. It is the knowledge of the spirit of the scriptures alone that constitutes the true religious teacher. The network of the words of the scriptures is like a huge forest in which the human mind often loses itself and finds no way out.
   "The network of words is a big forest; it is the cause of a curious wandering of the mind." "The various methods of joining words, the various methods of speaking in beautiful language, the various methods of explaining the diction of the scriptures are only for the disputations and enjoyment of the learned, they do not conduce to the development of spiritual perception"
   Those who employ such methods to impart religion to others are only desirous to show off their learning, so that the world may praise them as great scholars. You will find that no one of the great teachers of the world ever went into these various explanations of the text; there is with them no attempt at "text-torturing", no eternal playing upon the meaning of words and their roots. Yet they nobly taught, while others who have nothing to teach have taken up a word sometimes and written a three-volume book on its origin, on the man who used it first, and on what that man was accustomed to eat, and how long he slept, and so on.
  --
   "He who is learned in the scriptures, sinless, unpolluted by lust, and is the greatest knower of the Brahman" is the real teacher.
  From what has been said, it naturally follows that we cannot be taught to love, appreciate, and assimilate religion everywhere and by everybody. The "books in the running brooks, sermons in stones, and good in everything" is all very true as a poetical figure: but nothing can impart to a man a single grain of truth unless he has the undeveloped germs of it in himself. To whom do the stones and brooks preach sermons? To the human soul, the lotus of whose inner holy shrine is already quick with life.

1.05 - The Ascent of the Sacrifice - The Psychic Being, #The Synthesis Of Yoga, #Sri Aurobindo, #Integral Yoga
     Every kind of solution has bee