第一篇：《美食、祈祷和恋爱》经典台词
不要通过你的头脑看世界 要通过你的心
：你是什么时候想要孩子的
：不记得了 不过我结婚以前就有那个盒子了 ：什么盒子
：那是小姑娘的玩意 我说了你会笑话我的 ：我会笑话你 但你还是要告诉我
：好吧 在床底下 我一直朝里面放婴儿用品 直到安迪愿意做个父亲
：真令人感动（开了句玩笑然后叹气）我也有个这样的盒子 只不过里面都是国家地理杂志和THE TIMES报的旅游版 都是我一生想去的地方 ：LIZ 怀孕就像把纹身纹在脸上 一定要先想好了
我每一刻都在积极的创造这一生活 为何还感觉自己和这一生活格格不入
：我爱上你了
：我不是你想象的那样 只是你的幻想
：这是胡说 你是真实的 你的伤疤 你的才能 我开一家三流酒吧你也接受这就是我要做的我喜欢你的痛 喜欢我们在一起的时候 我能赶走你的痛苦 当我看着你的眼睛 就听见海豚拍手的声音 ：他不知道的是 我消失在我爱的人之中 我是可渗透的薄膜 只要我爱你 你就能拥有我的一切 我的钱 我的时间 我的身体 我的狗 我的狗的钱 我会承担你的债务 还会给你各种你从未具备的优秀品质 把这些都给你 还会给你更多 直到我身心疲惫 唯一能让我康复的 就是爱上一个人
我只是不习惯 一个陌生人比我更能看透我的内心 所以才故意说你矮
严格来说我并非爱上他 我只是跳出自己的婚姻 掉进大卫的怀抱 就像卡通片中的人 从高台上跳下 掉进一小杯水中 彻底消失
：你为何成为素食主义者 ：因为有次看见宰牛
：对于他来说很痛苦啊 那你呢 ：我可以冥想
：LIZ 记得几年前你全身心的去装修厨房 一心只想着做好饭 做个好妻子 ：我只是尽力维持
：那我觉得念经和冥想也是一回事 只是形式不同
不希望你不在身边 让我想你吗？
首先是你所爱的人给你一剂毒品 爱与激情的情感毒品 很快 你就像瘾君子一样 渴望得到对方的关注 得不到的话 就会生病 烦躁 憎恨当初让你服下感情毒品的人现在再也不给你毒品了 以前却是免费给你毒品 然后你会变得憔悴 哪怕是为了让对方再给你一次毒品你也愿意付出一切 你爱的人现在开始讨厌你 他看你的眼神 就像看着陌生人 可你又不能责怪
他 看看自己 都没个人样了 连自己都认不出自己了 这时就到了热恋的最后阶段 自暴自弃
：你想离开一年？ ：知道我今天突然是什么感觉吗 没有激情 没有活力 没有信仰 没有热情 什么都没有 什么时候都是这种感觉 这样我感到害怕 这简直比死亡还可怕 难道我一辈子就做这种人吗 ：这很正常 20多岁的时候恋爱 结婚 30多岁的时候忙家里的琐事 突然有一天就想 这不是我想要的生活 然后婚姻出现危机 受到伤害 然后去找心理医生 却不能思考一下 ：我不需要思考 我需要改变
：这里有很多能帮助你的人 你有爱你的朋友和家人
：你能感受到我对你的爱 对你的帮助吗 什么都没有 我没有一点生命力 我要去意大利 ：为什么要去意大利呢 ：你中午吃的什么 ：沙拉吧
：没错 我以前有吃饭的欲望 生活的欲望 而现在却没了 我想能找到自己迷恋的东西 语言 冰淇淋 意大利面 什么都行 ：你这话就像是个孩子 ：我一直就像孩子 自从15岁以来 不是在谈恋爱 就是在分手 连两周的单身时间都没有 来处理自己的事情
：我一生的回忆 都装在这些箱子里了
：恋恋不舍的人多了 但很少有几个再回来找
：嘿 如果你留下来 我们每晚去吃印度菜 ：你从未请求我留下来
我以前责怪你 也有一部分是出于嫉妒心 我留恋我的老公 工作 孩子 不过我真想出去走走 我佩服你的选择 去吧
意大利有个很好笑的老笑话 说一个穷人每天都到教堂 在一个圣人的雕像面前祈祷 “圣人啊 行行好 行行好 你就让我中彩票吧” 被激怒的圣人最终忍不住显灵 向下看着祈祷的穷人说 “孩子 那你也该买张彩票吧”
：我觉得很内疚 来罗马三周了 除了学几个意大利词就是吃 ：你觉得内疚 因为你是美国人 你们不懂得快乐 ：你说什么
：是真的 美国人懂得娱乐 但不懂得快乐 你的麻烦就在于你是美国人 工作辛苦 累死累活的 周末回到家 就知道穿着睡衣看电视 你们不懂得快乐 需要有人提醒 你们看到广告上说 “周末就要喝啤酒” 你们就想 “对啊 我要去买几瓶” 然后把酒都喝了 第二天醒来头昏脑胀 但是意大利人不需要提醒 如果我们看见广告上说 “你今天要休息一会儿” 我们会想 “这我知道” 因此我们才打算中午休息一会儿 去你家勾引你老婆 我们称之为 “无所事事的快乐 我们对此最在行了” 你不能这样说意大利语 不要用你的嘴说 要用你的手说
每个城市的人都有自己的风格 比如伦敦人的风格是什么 我觉得是保守 斯德哥尔摩人的风格是什么 这还用问？ 随大流呗 纽约人呢 事业心或者琐碎 罗马人什么风格 嗯~这个问题
要好好想想 性
：你是什么特点 我看不出来 ：这个嘛 可能是 首先是女人 我是个孝顺女儿 然后 妻子 我做的不好 女朋友 做的也不好 我的特点就是作家
：但这是你的职业 不能代表你的人 或许你正在寻找自我的过程中
：我恋爱了 爱上了我的比萨 你看起来要和比萨分手了 怎么了 ：我不能吃
：怎么不能吃 这可是NAPLES的比萨 不吃还有天理吗
：我也想吃 不过我胖了10斤 我都长了 在这儿 该用什么词来形容 ：赘肉 我也有赘肉
：我刚刚还松开扣子看自己长了多少赘肉 ：我来问你 所有看见你脱衣服的男人中 ：也没几个
：那无所谓 有一个人让你滚吗 有一个人转身就走吗 ：没有 ：因为男人不在乎 看你脱了衣服 他烧高香还来不及呢 我再也不愿每天早上醒来 拼命回忆昨天自己吃的东西 盘算着自己又能长几斤肉 责怪自己怎么管不住自己的嘴 我现在只管吃 我不是为了长胖 只是不想再有内疚感 因此我要吃了这份比萨 然后看一场足球赛 明天我们结伴逛街 买条更肥大的裤子
我们能不能承认感情遇到危机 然后继续坚持下去？我们承认经常吵架 很少做爱了 但我们却不希望失去对方 这样我们就能生活在一起 虽然烦恼 但也庆幸没有分离
亲爱的大卫 我们有段时间没联系了 这让我有了思考的时间 记得你说过 我们应该不幸福的生活在一起 这样就能幸福 很长时间以来 我一直是这么做的 希望能维持下去 不过一位朋友有天带我去了一个好地方 奥古斯都遗址 原本是奥古斯都大帝为自己建造的陵墓 异教徒入侵的时候 把陵墓和其他一切都洗劫一空 奥古斯都大帝 古罗马的第一位伟大皇帝 怎么可能料到 罗马帝国 他眼中的天下 会被洗劫呢 “在中世纪 有人到这里偷走了皇帝的骨灰 在12世纪成了一个城堡 后来成了斗牛场 之后成了储存烟花的地方 现在成了流浪汉的厕所” 这是罗马最安静 孤独的地方 城市的周围数百年间都发展起来了 这里就像是不愿忘怀的一处伤口 一处心痛 因为它曾让你伤得很深 我们都希望能保持原样 能接受烦恼的生活 只是因为我们害怕改变 害怕变得更糟 但当我看到这个地方 看到其历经的沧桑 被用于各种用途 被烧毁 被洗劫 但依然屹立不倒 于是我明白 我的经历虽然沧桑 但人间正道是沧桑 只是不能沉浸于以前的沧桑 经历沧桑是好事 沧桑才能带来变化 奥古斯都遗址让我明白 即使是在永恒之城罗马 也要去面对永恒的改变 我们不应该再厮守下去 那只是因为我们担心分开会更痛苦
：不就是爱上一个人吗 ：我很想他
：那就想呗 想他的时候就对他表达出来 然后放在一边
来印度的收获可以总结为一句话 上帝在你身上的体现就是你
一种中间状态 生活在边缘状态 不愿过舒适的居家生活 而是去寻找启示
你现在害怕吧 我理解 你不想失去自我 爱是令人害怕的、危险的 我也经历过 我每天祈祷 但是老公还是对我不好 我只能离开他 这就是他打我留下的伤痕 用摩托车头盔打的 我的女儿 求着我和他离婚 说这话的时候 她只有四岁 别觉得对不起他 人人都需要爱情 爱让人失去理智 在恋爱的初期都是这样的 怎么爱都爱不够 甚至像你这样弄出病来 即使是我 开始恋爱的时候也是这样 也失去了自我
有时候 因为爱而失去平衡 也是生活平衡的表现
在最后 我相信了“探索的物理学” 这种力量和万有引力一样是真实存在的 探索物理学的原理是 只要你能勇敢的放弃熟悉的一切（不管放弃的是你喜欢的还是憎恨的）开始探索真理的历程（也包括心理上的历程）只要你把历程中的见闻都能视为线索 只要你把沿途见到的人都当做老师 最重要的是 只要你能够面对、原谅自己不好的方面 那么你就会探索到真理
第二篇：《美食祈祷和恋爱》观后感
电影 | 《美食、祈祷和恋爱》观后感
周日，难得清闲，又一次重温了朱莉娅·罗伯茨主演的《美食、祈祷和恋爱》。已不记得是第几次回看这部影片了，每一次看完都有一股暖流溢遍全身，周期性的丧就这样被治愈。
记得初见《美食、祈祷和恋爱》时，就是被它散文一样的标题所吸引的。影片讲述了30+的女主人公LIZ在厌倦了没有激情和期待的婚姻生活后，选择离婚踏上了寻找自我的发现之旅。
民以食为天，第一站去了意大利。跟当地帅哥学习意大利语，享受美味的意面、披萨，体验慢节奏的意式生活，感受家庭成员间相互关爱的温馨之情„„她有份参与其中，觉得是自己是世界最幸福的女孩，找回了对世俗生活的愉悦感。
第二站去了印度。在小男友大卫皈依的印度古鲁那里静修、冥想，期间遇上了恐婚的17岁印度女孩桑迪和因醉驾撞死自己儿子的德州男子理查，在大家相互慰藉的过程，她明白了，她不是圣母玛丽亚，她只是她而已。泅过自己内心那条潜满短吻鳄的护城河之后，一直以来的焦躁、迷茫和痛苦渐渐释然。
第三站去了巴厘岛。因为六个月前，在巴厘岛上的巫医赖恩告诉她，她会经历两次感情的挫折、并人财两空，周游世界后会再次回到这里。所以这次她是来向赖恩寻找答案的。在这里她遇上了同样因感情受挫而离婚的巴西宝石商人费利佩，两人以游客和导游的身份，轻松而自然地相处着，不经意间开出了LIZ想要的爱情之花，最终，在恋爱与宁静的生活之间达成了完美的平衡。
电影改编自伊丽莎白·吉尔伯特的自传体小说《一辈子做女孩》，以女主人公LIZ的心路历程和人生意义的寻找旅程为主线，贯穿了意大利、印度、巴厘岛的美景、美食和众多人物背后不同的人生经历和故事，画面唯美、情感细腻，寓意深刻，犹如一篇形散而神不散的散文，令人常看常新。
闲来无事，你可以把关注点放在美食、美景、与异域风情的风俗上面，只是当一部游历美景品尝美食顺带再谈一个浪漫恋爱的小资情调试浪漫电影来消遣时光。
想静下心来细细品味，你就把关注点更多的放在影片要传达的精神层面上。拔开浮华的表面，这是一部对于人生、信仰和爱情进行自我发问的影片，片中的某些台词会不经意间触动我们内心的柔软，让我想起了张淑芬的《遇见未知的自己》。
确实，生活中没有谁是容易的，是人都会有不堪的往事，解不开的心结。有些事于你要历尽千帆，于别人却可以原地重生，关键还是看我们是否能够正视和接纳一个不完美的自己。
我们永远都难以知道自己真正该怎么活、真正渴望的是什么。所以一次次我们错过了隐身于思想深处的另一个自己。总在尝试着改变些什么，可是生活会毫不保留地告诫我们，既然改变不了，就唯有适应，就地臣服。人生就像一场戏，为了向世界竭力证明自己的价值，每个人都在扮演着各种不同的角色，但所有的一切最终追求的莫过于满足自己内心的“爱、喜悦、和平”的感觉罢了。其实易地而处，活于世上，我们真的不需要对世界作出任何解释，世界只接受我们对自己的评价罢了。
走过万水千山，只为找一条走回心间的路„„
最后，用《遇见未知的自己》里智慧老人写给女主人公若菱的一段话结束本篇观后感：“亲爱的，外面没有别人，只有自己。外面没有别人，所有的外在事物都是我们内心投射出来的结果„„每个发生在自己身上的事件都是一个礼物，只是有的礼物包装得很难看，让我们心怀怨恨或心存恐惧；因为，它可以是一个灾难，也可以是一个礼物。但如果能带着信心，给它一点时间，耐心、细心地拆开这个惨不忍睹的外壳包装，你会享受到它内在蕴含着的丰盛美好。”
经典台词
“我的经历虽然沧桑，但人间正道是沧桑。只是不能沉浸于以前的沧桑。经历沧桑是好事，沧桑才能带来变化。奥古斯遗址让我明白，即使在永恒之城罗马，也要去面对永恒的改变。我们不应该在厮守下去，那只是因为我们担心分开会更痛苦。”
“我知道你心情不好，但你正处于转折点。这不是坏事，而这里的环境正适合你去转变。不就是想他吗？想他的时候就对他表达出来，然后放在一边。只要你摒弃杂念，别再考虑这个人和你失败的婚姻，就把你的思想腾出来了。这时候会发生什么呢？上帝就会占据其中，带给你很多无法想象的爱，我觉得你将来有能力爱上整个世界。”
“来印度的收获可以总结为一句话，上帝在你身上的体现就是你。上帝可没兴趣看一个信徒的长相和举止。轻轻静静地走路，脸上带着圣洁微笑的人，那是圣母玛利亚，不是凡人。上帝在我身上的体现，就是我。”
“巴厘人知道，要保持幸福，就要时时刻刻知道自己在哪里。这里是最平衡的地方，就在天堂和人间的交汇处。既不过于神圣，也不过于世俗。否则的话，生活就太累了。失去了平衡，就失去了力量。在早晨，你做在印度学的冥想，非常的虔诚。白天呢，就在巴厘岛玩，到了下午，就来找我。到晚上，你做新的冥想。很简单，就是安静的坐下微笑。在脸上笑，还要在心里笑，甚至要在肝脏里笑。”
“有时候，因为爱而失去平衡，也是生活平衡的表现。”
第三篇：祈祷恋爱经典语录
美好的爱情总是我们向往的，以下是小编整理的祈祷恋爱经典语录，欢迎阅读参考！
1、这世界上有一个人是永远等着你的，不管是什么时候，不管你是在什么地方，反正你知道，总有这样一个人。
2、放弃该放弃的是无奈，放弃不该放弃的是无能；不放弃该放弃的是无知，不放弃不该放弃的是执着。
3、其实快乐要有悲伤作陪，雨过应该就有天晴。如果雨后还是雨，如果忧伤之后还是忧伤．请让我们从容面对这离别之后的离别。微笑地去寻找一个不可能出现的你！
4、亲爱的，请不要欺骗善良的女孩。这个世界上，善良的女孩太少。
5、是啊！曾经有一份真诚的爱情摆在我的面前，但是我没有珍惜，等到了失去的时候才后悔莫及，尘世间最痛苦的事莫过于此。如果上天能够给我一个再来一次的机会，我会对那个女孩子说三个字：我爱你。如果非要在这份爱上加个期限，我希望是一万年！
6、有些事情本身我们无法控制，只好控制自己。
7、在这千万人之中，遇见你所遇见的人；于千万年之中，时间的无涯荒野里，没有早一步，也没有晚一步，刚巧赶上了
8、不管从什么时候开始，重要的是开始以后不要停止；不管在什么时候结束，重要的是结束以后不要后悔。
9、能冲刷一切的除了眼泪，就是时间，以时间来推移感情，时间越长，冲突越淡，仿佛不断稀释的茶。
10、人生短短几十年，不要给自己留下了什么遗憾，想笑就笑，想哭就哭，该爱的时候就去爱，无谓压抑自己
11、我们确实活得艰难，一要承受种种外部的压力，更要面对自己内心的困惑。在苦苦挣扎中，如果有人向你投以理解的目光，你会感到一种生命的暖意，或许仅有短暂的一瞥，就足以使我感奋不已。
12、记住该记住的，忘记该忘记的。改变能改变的，接受不能改变的13、后悔是一种耗费精神的情绪.后悔是比损失更大的损失，比错误更大的错误.所以不要后悔
14、天长地久有没有？当然有！为什么大多数人不相信有？因为他们没有找到人生旅途中最适合自己的那一个。也就是冥冥中注定的那一个。为什么找不到？茫茫人海，人生如露，要找到最合适自己的那一个谈何容易？你或许可以在40岁时找到上天注定的那一个，可是你能等到40岁吗？在20多岁时找不到，却不得不结婚，在三四十岁时找到却不得不放弃。这就是人生的悲哀。
15、每个女孩都曾是无泪的天使，当遇到自己喜欢的男孩时，便会流泪--于是变为凡人。所以男孩一定不要辜负女孩，因为女孩为你放弃了整个天堂！
16、你出生的时候，你哭着，周围的人笑着；你逝去的时候，你笑着，而周围的人在哭！一切都是轮回!我们都在轮回中!
17、爱一个人就是在拔通电话时，忽然不知道说什么好，原来只是想听听那熟悉的声音，原来真正想拔通的只是自已心底的一根弦
18、当你必须为-段爱情做承诺时，-切其实都已结束；当你必须为一段婚姻做承诺时，一切才刚开始。
19、每个人对待爱情的态度都会不一样，各人有各自的爱情原则，有自己接受的底线--你最好先问问自己的原则和底线是什么，怎样做能令内心的自己真的快乐。
20、一个人一生可以爱上很多人的，等你获得真正属于你的幸福之后，你就会明白以前的伤痛其实是一种财富，它让你学会更好地去把握和珍惜你爱的人。
21、爱情不是一种虚荣，要拿出来在众人面前炫耀；爱情不是一件美丽的衣裳，要穿在外面给大家欣赏；爱情不是一项任务，要对亲朋好友有个交待。
22、世界上最容易被忘记的东西，就是爱情
23、我们一生当中，并不可能只爱一个人，但往往有一个人让你笑得最甜，让你痛得最深，往往有一处美丽的伤口，成为你身体上不能愈合的一部分！因为陌生，所以勇敢，因为距离，所以美丽。
24、相爱的人，不一定会结婚，而结婚的人又不一定是自己的意中人
25、要遇上一个人只要用一分钟的时间；要喜欢上一个人只要用一句话的时间；要爱上一个人只要用一天的时间；但要忘记一个人却要用一生的时间。
26、有一种感觉总在失眠时，才承认是“相思”；有一种缘分总在梦醒后，才相信是“永恒”；有一种目光总在分手时，才看见是“眷恋”；有一种心情总在离别后，才明白是“失落”。
27、在对的时间，遇见对的人，是一生幸福；在对的时间，遇见错的人，是一场心伤；在错的时间，遇见错的人，是一段荒唐；在错的时间，遇见对的人，是一阵叹息
28、不是因为寂寞才想你，而是因为想你才寂寞。孤独的感觉之所以如此之重，只是因为想得太深。
29、我们的人生，如果没有了爱的存在，那该有多么多么的寂寞。然而，爱情有时候更像是一个童话故事，永远若即若离，永远难于把握。平淡的生活里，我们不一定可以找到自己最理想也最完美的爱情。可是，幸好，我们的心灵并没有因此关闭那扇向往美好的门。有时候，哪怕仅仅是纸上的爱情，也可以温暖我们日渐荒芜的心灵。
30、爱一个人不一定就要拥有，但拥有了一个人就应该好好的爱她呵护她。
31、爱是一种残忍，只有在心中的天平上秤出自己在对方心中是否有爱的分量。
32、爱情如命，生命似水。
33、摊开掌心对着天空，掌心里有阳光，那是我想你时莞尔的笑容；掌心里有雨滴，那是我思念你偶尔滴落的泪水......34、如果敌人让你生气，那说明你还没有胜他的把握；如果朋友让你生气，那说明你仍然在意他的友情
35、不要为了寂寞去恋爱，时间是个魔鬼，天长日久，如果你是个多情的人，即使不爱对方，到时候也会产生感情，到最后你怎幺办？
36、不管多大多老，不管家人朋友怎幺催，都不要随便对待婚姻，婚姻不是打牌，重新洗牌要付出巨大代价。
37、浪漫是什幺？是送花？雨中漫步？楼前伫立不去？如果两人彼此倾心相爱，什幺事都不做，静静相对都会感觉是浪漫的。否则，即使两人坐到月亮上拍拖，也是感觉不到浪漫的。
38、你知道吗？原来那个女孩子在我的心里面流下了一滴眼泪，我完全可以感受到当时她是多么地伤心......39、我希望我用我自己的脚步去走我自己的人生。不管这条道路是泥泞还是平地，这是我自己的选择。
40、思忆常会在夜静灯昏时翻开甜酸苦辣也成了一道最凄美的风景线，陈旧的美无法在代谢中泯灭。
41、当你不能够再拥有的时候，你唯一可以做的就是令自己不要忘记。
42、或许，上天不给我的，无论我两臂怎紧扣，仍然走漏；给我的，无论过去我怎失手都会拥有，但我仍然祈祷。
43、就算明知道是让对方痛苦的爱就不要让它继续下去，割舍掉。如果不行就将它冻结在自己内心最深的角落。
44、其实人生不如意的事十之七八，夕阳虽然西下，但在某个国家却是日出。
45、我不知道我现在做的哪些是对的，那些是错的，而当我终于老死的时候我才知道这些。所以我现在所能做的就是尽力做好每一件事，然后等待着老死。
46、沉溺于以前与回忆的人是一个很懦弱的人，因为她（他）不敢勇敢地正视现实。现实是什么？现实就是变化。没有不变的感情，没有不变的人。
47、执子之手，与子共着。执子之手，与子同眠。执子之手，与子偕老。执子之手，夫复何求？
48、这个世界永远充满着诱惑。就像猴子掰玉米那样，看到好的又把怀里的扔了，看到好的又把怀里的扔了，到了最后，留在怀里的其实是个最小的。
49、其实痴情的人永远都抱着这样的想法：连我自己都被自己感动，她有什么理由不被我打动呢？但坚持不懈的追求只能证明你是一个坚持不懈的人，仅此而已。
50、如果异地恋要求你要能够忍受寂寞，而且这种恋情需要一个大团圆的希望，就算很缈茫也好。这是一种精神支柱，是支撑着你坚持这段感情的信念。
第四篇：美食、祈祷、恋爱作者ted演讲稿
I am a writer.Writing books is my profession but it's more than that, of course.It is also my great lifelong love and fascination.And I don't expect that that's ever going to change.But, that said, something kind of peculiar has happened recently in my life and in my career, which has caused me to have to recalibrate my whole relationship with this work.And the peculiar thing is that I recently wrote this book, this memoir called “Eat, Pray, Love” which, decidedly unlike any of my previous books, went out in the world for some reason, and became this big, mega-sensation, international bestseller thing.The result of which is that everywhere I go now, people treat me like I'm doomed.Seriously--doomed, doomed!Like, they come up to me now, all worried, and they say, “Aren't you afraid--aren't you afraid you're never going to be able to top that? Aren't you afraid you're going to keep writing for your whole life and you're never again going to create a book that anybody in the world cares about at all, ever again?”
So that's reassuring, you know.But it would be worse, except for that I happen to remember that over 20 years ago, when I first started telling people--when I was a teenager--that I wanted to be a writer, I was met with this same kind of, sort of fear-based reaction.And people would say, “Aren't you afraid you're never going to have any success? Aren't you afraid the humiliation of rejection will kill you? Aren't you afraid that you're going to work your whole life at this craft and nothing's ever going to come of it and you're going to die on a scrap heap of broken dreams with your mouth filled with bitter ash of failure?”(Laughter)Like that, you know.The answer--the short answer to all those questions is, “Yes.” Yes, I'm afraid of all those things.And I always have been.And I'm afraid of many many more things besides that people can't even guess at.Like seaweed, and other things that are scary.But, when it comes to writing the thing that I've been sort of thinking about lately, and wondering about lately, is why? You know, is it rational? Is it logical that anybody should be expected to be afraid of the work that they feel they were put on this Earth to do.You know, and what is it specifically about creative ventures that seems to make us really nervous about each other's mental health in a way that other careers kind of don't do, you know? Like my dad, for example, was a chemical engineer and I don't recall once in his 40 years of chemical engineering anybody asking him if he was afraid to be a chemical engineer, you know? It didn't--that chemical engineering block John, how's it going? It just didn't come up like that, you know? But to be fair, chemical engineers as a group haven't really earned a reputation over the centuries for being alcoholic manic-depressives.(Laughter)
We writers, we kind of do have that reputation, and not just writers, but creative people across all genres, it seems, have this reputation for being enormously mentally unstable.And all you have to do is look at the very grim death count in the 20th century alone, of really magnificent creative minds who died young and often at their own hands, you know? And even the ones who didn't literally commit suicide seem to be really undone by their gifts, you know.Norman Mailer, just before he died, last interview, he said “Every one of my books has killed me a little more.” An extraordinary statement to make about your life's work, you know.But we don't even blink when we hear somebody say this because we've heard that kind of stuff for so long and somehow we've completely internalized and accepted collectively this notion that creativity and suffering are somehow inherently linked and that artistry, in the end, will always ultimately lead to anguish.And the question that I want to ask everybody here today is are you guys all cool with that idea? Are you comfortable with that--because you look at it even from an inch away and, you know--I'm not at all comfortable with that assumption.I think it's odious.And I also think it's dangerous, and I don't want to see it perpetuated into the next century.I think it's better if we encourage our great creative minds to live.And I definitely know that, in my case--in my situation--it would be very dangerous for me to start sort of leaking down that dark path of assumption, particularly given the circumstance that I'm in right now in my career.Which is--you know, like check it out, I'm pretty young, I'm only about 40 years old.I still have maybe another four decades of work left in me.And it's exceedingly likely that anything I write from this point forward is going to be judged by the world as the work that came after the freakish success of my last book, right? I should just put it bluntly, because we're all sort of friends here now--it's exceedingly likely that my greatest success is behind me.Oh, so Jesus, what a thought!You know that's the kind of thought that could lead a person to start drinking gin at nine o'clock in the morning, and I don't want to go there.(Laughter)I would prefer to keep doing this work that I love.And so, the question becomes, how? And so, it seems to me, upon a lot of reflection, that the way that I have to work now, in order to continue writing, is that I have to create some sort of protective psychological construct, right? I have to, sort of find some way to have a safe distance between me, as I am writing, and my very natural anxiety about what the reaction to that writing is going to be, from now on.And, as I've been looking over the last year for models for how to do that I've been sort of looking across time, and I've been trying to find other societies to see if they might have had better and saner ideas than we have about how to help creative people, sort of manage the inherent emotional risks of creativity.And that search has led me to ancient Greece and ancient Rome.So stay with me, because it does circle around and back.But, ancient Greece and ancient Rome--people did not happen to believe that creativity came from human beings back then, OK? People believed that creativity was this divine attendant spirit that came to human beings from some distant and unknowable source, for distant and unknowable reasons.The Greeks famously called these divine attendant spirits of creativity “daemons.” Socrates, famously, believed that he had a daemon who spoke wisdom to him from afar.The Romans had the same idea, but they called that sort of disembodied creative spirit a genius.Which is great, because the Romans did not actually think that a genius was a particularly clever individual.They believed that a genius was this, sort of magical divine entity, who was believed to literally live in the walls of an artist's studio, kind of like Dobby the house elf, and who would come out and sort of invisibly assist the artist with their work and would shape the outcome of that work.So brilliant--there it is, right there that distance that I'm talking about--that psychological construct to protect you from the results of your work.And everyone knew that this is how it functioned, right? So the ancient artist was protected from certain things, like, for example, too much narcissism, right? If your work was brilliant you couldn't take all the credit for it, everybody knew that you had this disembodied genius who had helped you.If your work bombed, not entirely your fault, you know? Everyone knew your genius was kind of lame.And this is how people thought about creativity in the West for a really long time.And then the Renaissance came and everything changed, and we had this big idea, and the big idea was let's put the individual human being at the center of the universe above all gods and mysteries, and there's no more room for mystical creatures who take dictation from the divine.And it's the beginning of rational humanism, and people started to believe that creativity came completely from the self of the individual.And for the first time in history, you start to hear people referring to this or that artist as being a genius rather than having a genius.And I got to tell you, I think that was a huge error.You know, I think that allowing somebody, one mere person to believe that he or she is like, the vessel you know, like the font and the essence and the source of all divine, creative, unknowable, eternal mystery is just a smidge too much responsibility to put on one fragile, human psyche.It's like asking somebody to swallow the sun.It just completely warps and distorts egos, and it creates all these unmanageable expectations about performance.And I think the pressure of that has been killing off our artists for the last 500 years.And, if this is true, and I think it is true, the question becomes, what now? Can we do this differently? Maybe go back to some more ancient understanding about the relationship between humans and the creative mystery.Maybe not.Maybe we can't just erase 500 years of rational humanistic thought in one 18 minute speech.And there's probably people in this audience who would raise really legitimate scientific suspicions about the notion of, basically fairies who follow people around rubbing fairy juice on their projects and stuff.I'm not, probably, going to bring you all along with me on this.But the question that I kind of want to pose is--you know, why not? Why not think about it this way? Because it makes as much sense as anything else I have ever heard in terms of explaining the utter maddening capriciousness of the creative process.A process which, as anybody who has ever tried to make something--which is to say basically, everyone here---knows does not always behave rationally.And, in fact, can sometimes feel downright paranormal.I had this encounter recently where I met the extraordinary American poet Ruth Stone, who's now in her 90s, but she's been a poet her entire life and she told me that when she was growing up in rural Virginia, she would be out working in the fields, and she said she would feel and hear a poem coming at her from over the landscape.And she said it was like a thunderous train of air.And it would come barreling down at her over the landscape.And she felt it coming, because it would shake the earth under her feet.She knew that she had only one thing to do at that point, and that was to, in her words, “run like hell.” And she would run like hell to the house and she would be getting chased by this poem, and the whole deal was that she had to get to a piece of paper and a pencil fast enough so that when it thundered through her, she could collect it and grab it on the page.And other times she wouldn't be fast enough, so she'd be running and running and running, and she wouldn't get to the house and the poem would barrel through her and she would miss it and she said it would continue on across the landscape, looking, as she put it “for another poet.” And then there were these times--this is the piece I never forgot--she said that there were moments where she would almost miss it, right? So, she's running to the house and she's looking for the paper and the poem passes through her, and she grabs a pencil just as it's going through her, and then she said, it was like she would reach out with her other hand and she would catch it.She would catch the poem by its tail, and she would pull it backwards into her body as she was transcribing on the page.And in these instances, the poem would come up on the page perfect and intact but backwards, from the last word to the first.(Laughter)
So when I heard that I was like--that's uncanny, that's exactly what my creative process is like.(Laughter)
That's not all what my creative process is--I'm not the pipeline!I'm a mule, and the way that I have to work is that I have to get up at the same time every day, and sweat and labor and barrel through it really awkwardly.But even I, in my mulishness, even I have brushed up against that thing, at times.And I would imagine that a lot of you have too.You know, even I have had work or ideas come through me from a source that I honestly cannot identify.And what is that thing? And how are we to relate to it in a way that will not make us lose our minds, but, in fact, might actually keep us sane?
And for me, the best contemporary example that I have of how to do that is the musician Tom Waits, who I got to interview several years ago on a magazine assignment.And we were talking about this, and you know, Tom, for most of his life he was pretty much the embodiment of the tormented contemporary modern artist, trying to control and manage and dominate these sort of uncontrollable creative impulses that were totally internalized.But then he got older, he got calmer, and one day he was driving down the freeway in Los Angeles he told me, and this is when it all changed for him.And he's speeding along, and all of a sudden he hears this little fragment of melody, that comes into his head as inspiration often comes, elusive and tantalizing, and he wants it, you know, it's gorgeous, and he longs for it, but he has no way to get it.He doesn't have a piece of paper, he doesn't have a pencil, he doesn't have a tape recorder.So he starts to feel all of that old anxiety start to rise in him like, “I'm going to lose this thing, and then I'm going to be haunted by this song forever.I'm not good enough, and I can't do it.” And instead of panicking, he just stopped.He just stopped that whole mental process and he did something completely novel.He just looked up at the sky, and he said, “Excuse me, can you not see that I'm driving?”(Laughter)“Do I look like I can write down a song right now? If you really want to exist, come back at a more opportune moment when I can take care of you.Otherwise, go bother somebody else today.Go bother Leonard Cohen.”
And his whole work process changed after that.Not the work, the work was still oftentimes as dark as ever.But the process, and the heavy anxiety around it was released when he took the genie, the genius out of him where it was causing nothing but trouble, and released it kind of back where it came from, and realized that this didn't have to be this internalized, tormented thing.It could be this peculiar, wondrous, bizarre collaboration kind of conversation between Tom and the strange, external thing that was not quite Tom.So when I heard that story it started to shift a little bit the way that I worked too, and it already saved me once.This idea, it saved me when I was in the middle of writing “Eat, Pray, Love,” and I fell into one of those, sort of pits of despair that we all fall into when we're working on something and it's not coming and you start to think this is going to be a disaster, this is going to be the worst book ever written.Not just bad, but the worst book ever written.And I started to think I should just dump this project.But then I remembered Tom talking to the open air and I tried it.So I just lifted my face up from the manuscript and I directed my comments to an empty corner of the room.And I said aloud, “Listen you, thing, you and I both know that if this book isn't brilliant that is not entirely my fault, right? Because you can see that I am putting everything I have into this, I don't have anymore than this.So if you want it to be better, then you've got to show up and do your part of the deal.OK.But if you don't do that, you know what, the hell with it.I'm going to keep writing anyway because that's my job.And I would please like the record to reflect today that I showed up for my part of the job.”(Laughter)
Because--(Applause)in the end it's like this, OK--centuries ago in the deserts of North Africa, people used to gather for these moonlight dances of sacred dance and music that would go on for hours and hours, until dawn.And they were always magnificent, because the dancers were professionals and they were terrific, right? But every once in a while, very rarely, something would happen, and one of these performers would actually become transcendent.And I know you know what I'm talking about, because I know you've all seen, at some point in your life, a performance like this.It was like time would stop, and the dancer would sort of step through some kind of portal and he wasn't doing anything different than he had ever done, 1,000 nights before, but everything would align.And all of a sudden, he would no longer appear to be merely human.He would be lit from within, and lit from below and all lit up on fire with divinity.And when this happened, back then, people knew it for what it was, you know, they called it by it's name.They would put their hands together and they would start to chant, “Allah, Allah, Allah, God God, God.” That's God, you know.Curious historical footnote--when the Moors invaded southern Spain, they took this custom with them and the pronunciation changed over the centuries from “Allah, Allah, Allah,” to “Ole, ole, ole,” which you still hear in bullfights and in flamenco dances.In Spain, when a performer has done something impossible and magic, “Allah, ole, ole, Allah, magnificent, bravo,” incomprehensible, there it is--a glimpse of God.Which is great, because we need that.But, the tricky bit comes the next morning, for the dancer himself, when he wakes up and discovers that it's Tuesday at 11 a.m., and he's no longer a glimpse of God.He's just an aging mortal with really bad knees, and maybe he's never going to ascend to that height again.And maybe nobody will ever chant God's name again as he spins, and what is he then to do with the rest of his life? This is hard.This is one of the most painful reconciliations to make in a creative life.But maybe it doesn't have to be quite so full of anguish if you never happened to believe, in the first place, that the most extraordinary aspects of your being came from you.But maybe if you just believed that they were on loan to you from some unimaginable source for some exquisite portion of your life to be passed along when you're finished, with somebody else.And, you know, if we think about it this way it starts to change everything.This is how I've started to think, and this is certainly how I've been thinking in the last few months as I've been working on the book that will soon be published, as the dangerously, frighteningly overanticipated follow up to my freakish success.And what I have to, sort of keep telling myself when I get really psyched out about that, is, don't be afraid.Don't be daunted.Just do your job.Continue to show up for your piece of it, whatever that might be.If your job is to dance, do your dance.If the divine, cockeyed genius assigned to your case decides to let some sort of wonderment be glimpsed, for just one moment through your efforts, then “Ole!” And if not, do your dance anyhow.And “Ole!” to you, nonetheless.I believe this and I feel that we must teach it.“Ole!” to you, nonetheless, just for having the sheer human love and stubbornness to keep showing up.Thank you.(Applause)Thank you.(Applause)
June Cohen: Ole!(Applause)
第五篇：恋爱先生台词
电视剧《恋爱先生》是一部都市爱情剧，由靳东、江疏影领衔主演，讲述程皓、张铭阳、邹北业三个遇到不同情感问题的男人，经过一番努力后，最终他们都找到合适自己的另一半，同时也收获成长的故事。那么该剧中的经典台词有哪些呢？让我们一起来看看恋爱先生台词。
1.永远就是永不知道有多远。
2.爱你不长，只有一生，恋你不久，只有一世。
3.也许在你的世界里，我只是一个意外。可是，在我的世界里，你是一个奇迹。
4.对待生活要认真，就如同做人一样。不要轻易做出什么选择和承偌。最重要的是，一个人的感情也很珍贵，不要太奢侈，如果出错，是很难弥补的。
5.我爱的人，我要能够占有他整个生命。他在碰到我以前没有过去，留着空白等我。
6.爱是盲目的，恋人们看不到他们为爱所做的的可爱的傻事。
7.离开自己曾爱的人，不是逃避，而是给自己一个崭新的空间去创造属于彼此的奇迹。
8.当依赖成为一种负担，无论是自己还是别人，都会对这种变味的感觉产生厌烦。
9.一直有句话没有对你说，有一些事情你也没有告诉我，童年的锺声这样敲着，这样爱着你的我，仍旧一样沉默。
10.想做的事大胆去做，想说的话大胆去说。人总不能孤单的过一辈子，该说的时候一定要说，错过，也许一辈子也无法再说。
11.你可以用一天的时间看完一本自己喜欢的书，却要用一辈子忘记自己曾经爱过的人。
12.后悔也是人生的一种经历。
13.我突然开始明白，在这个炎热的夏天，很多东西都随着夏日蒸发掉，再也没留下痕迹。
14.如果等待可以换回奇迹，我愿意一直等下去，无论是一年，还是一生。
15.越想占有，越容易失去。爱就是在尽量占有和尽量避免失去之间的平衡。
16.悲哀总是比较刻骨铭心的。
17.告诉你我很幸福，只是不想让你知道其实我很伤心。
18.无论你把爱情看的多么复杂或简单，在爱情的世界里，单有爱情是不够的。
19.爱在仰息里停留，恨在快乐里寄居。
20.喜欢一个人是不会痛苦的，只有爱一个人才会有绵长的痛苦。当然，男人给女人的快乐，也是世界上最大的快乐。21.爱一个人，你必须有一点恨他，恨他令你离不开他。
22.有三样东西是永远不会回来的：射出去的箭；说过的话；度过的日子。
23.一年有三百六是五天，八千七百六十万个小时，五十二万五千六百分钟，三百一十五万三千六百秒，那么在这三百一十五万三千六百秒中，如果有一秒没有想你，那我一定是在想我是多么的爱你。
24.有些事情一旦在不经意间错过，就再也追不回来。那些一纵即失的光阴是如此刻骨铭心，但却成永远的遗憾。
25.烟火的美丽在于它消失前那瞬间留给天空的痕迹，生命的美丽在于你离开前留在我心底的痕迹。
26.人生在世，不能太任性。有的东西再留念你也要放弃，有的东西你再喜欢也不属于你。
27.一段爱情的第三者，就是不被爱的那个。
28.任何不以结婚为目的的谈恋爱都是耍流氓，现在很多人分手太容易，因为得到的越容易，失去的也就越快。
29.她是大堂经理候选人，被父母催婚的神经病。
30.其实刺猬也会比兔子更需要拥抱。
31.我宁弯不直。
32.海誓山盟也不过是一阕词，一首曲，粉红绮丽，雪落春泥。爱情，如此而已。
33.一个女人的一生里，必定爱着两个男人，一个用来永远别离，一个用来陪伴永远。
34.缘为天定，份在人为，我一直在努力。我不知道是我走错门，还是门里的人不开门。
35.生活根本不能跟小说电影比，生活要比他们复杂的多。
36.爱，原来是没有名字的，在相遇之前等待，便是它的名字。
37.初萌的爱情看到的仅是生命，持续的爱情看到的是永恒。
38.爱情就等于生活，而生活是一种责任，所以，爱情是一种责任。
39.真正的爱情，是令人时常想到死，使死变的容易和丝毫不害怕。
40.有人祈祷能嫁给自己所爱的男人，而我则是忠心的祈祷，但愿我爱我所嫁的男人。
41.爱是纯洁的，在爱的内容里，不能有一点渣滓；爱是至善至诚的，爱的范围里，不能有丝毫私欲。
42.把你的攻击性先收起来，这个世界才会善待你。
43.只有像我们这种常年生活在国外的人才知道什么叫爱国!
44.从前车马很慢，书信很慢，一生只够爱一个人。如今飞机高铁，一日三乘；微信邮件，光速回复，一次爱一个人就叫忠诚。
45.钻石啤酒巧克力，这就是爱情三要素啊！
46.再给你配个人间大炮，送你上天得！
48.钻石不仅代表爱情，更是把代表爱情。
49.本是同根生，煎煎更健康。
50.这世界上最窄的路，就是冤家搭的路。
51.天长地久有没有？当然有，为什么大多数人不相信有？因为他们没有找到人生旅途中最适合自己的那一个，也就是在冥冥中注定的那一个。为什么找不到？茫茫人海，人生如露。
52.钻石啤酒巧克力，这就是爱情三要素啊！甜蜜苦涩永恒的甜蜜和苦涩。
53.当爱情还未到来之时，努力让自己变得更好。
54.再给你配个人间大炮，送你上天得！
55.你太平洋警察啊，管东管西的。
56.如果一个人值得你去爱，那么这份爱情就值得你去等。
57.一个人的悲剧不是悲剧，众人的悲剧才是真正的悲剧。
58.理智和情感的天平上，并不是每次理智都占上风，相反的，感情却有更重要的砝码。
59.感情的事基本是没有谁对谁错，他/她要离开你，总是你有什么地方不能令他满足，回头想想过去在一起的日子总是美好的，当然卑劣的骗子也有的，他们的花言巧语完全是为骗取对方和自己上床，这样的人还是级少数的。
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