To give free rein to the course of feeling is therefore to observe it without interference, recognizing that because feeling is motion it is not to b… - Alan Watts

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To give free rein to the course of feeling is therefore to observe it without interference, recognizing that because feeling is motion it is not to be understood in terms which imply not static states but judgments of good and bad.

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About Alan Watts

Alan Wilson Watts (6 January 1915 – 16 November 1973) was an English philosopher, writer, speaker, and expert in comparative religion.

Biography information from Wikiquote

Also Known As

Alternative Names: Alan Wilson Watts Alan W. Watts
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Additional quotes by Alan Watts

We look for this security by fortifying and enclosing ourselves in innumerable ways. We want the protection of being “exclusive” and “special,” seeking to belong to the safest church, the best nation, the highest class, the right set, and the “nice” people. These defenses lead to divisions between us, and so to more insecurity demanding more defenses. Of course it is all done in the sincere belief that we are trying to do the right things and live in the best way; but this, too, is a contradiction.

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All this seems marvelously futile, and yet, when you begin to think about it, it begins to be more marvelous than futile. Indeed, it seems extremely odd.

It is a special kind of enlightenment to have this feeling that the usual, the way things normally are, is odd - uncanny and highly improbable. G. K. Chesterton once said that it is one thing to be amazed at a gorgon or a griffin, creatures which do not exist; but it is quite another and much higher thing to be amazed at a rhinoceros or a giraffe, creatures which do exist and look as if they don’t. This feeling of universal oddity includes a basic and intense wondering about the sense of things. Why, of all possible worlds, this colossal and apparently unnecessary multitude of galaxies in a mysteriously curved space-time continuum, these myriads of differing [...] species playing frantic games of one-upmanship, these numberless ways of “doing it” from the elegant architecture of the snow crystal or the diatom to the startling magnificence of the lyrebird or the peacock?

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