Gestures Gestures A gesture is a form of non-verbal communication in which visible bodily actions communicate conventionalized particular messages, either in place of speech or together and in parallel with spoken words. Gestures include movement of the hands, face, or other parts of the body. Examples Hands on knees: indicates readiness. Hands on hips: indicates impatience. Lock your hands behind your back: indicates self-control. Locked hands behind head: states confidence. Sitting with a leg over the arm of the chair: suggests indifference. Legs and feet pointed in a particular direction: the direction where more interest is felt. Crossed arms: indicates submissiveness. Facial expressions A facial expression results from one or more motions or positions of the muscles of the face. These movements convey the emotional state of
the mortification of seeing Mary, after very little entreaty, preparing to oblige the company. By many significant looks and silent entreaties, did she endeavour to prevent such a proof of complaisance, but in vain; Mary would not understand them; such an opportunity of exhibiting was delightful to her, and she began her song. Elizabeth's eyes were fixed on her with most painful sensations, and she watched her progress through the several stanzas with an impatience which was very ill rewarded at their close; for Mary, on receiving, amongst the thanks of the table, the hint of a hope that she might be prevailed on to favour them again, after the pause of half a minute began another. Mary's powers were by no means fitted for such a display; her voice was weak, and her manner affected. Elizabeth was in agonies. She looked at Jane, to see how she bore it; but Jane was very composedly talking to Bingley
Color-- -1- -2- -3- -4- -5- -6- -7- -8- -9- Text Size-- 10-- 11-- 12-- 13-- 14-- 15-- 16-- 17-- 18-- 19-- 20-- 21-- 22-- 23-- 24 TWILIGHT By Stephenie Meyer Contents PREFACE 1. FIRST SIGHT 2. OPEN BOOK 3. PHENOMENON 4. INVITATIONS 5. BLOOD TYPE 6. SCARY STORIES 7. NIGHTMARE 8. PORT ANGELES 9. THEORY 10. INTERROGATIONS 11. COMPLICATIONS 12. BALANCING 13. CONFESSIONS 14. MIND OVER MATTER 15. THE CULLENS 16. CARLISLE 17. THE GAME 18. THE HUNT 19. GOODBYES 20. IMPATIENCE 21. PHONE CALL 22. HIDE-AND-SEEK 23. THE ANGEL 24. AN IMPASSE EPILOGUE: AN OCCASION twilight STEPHENIE MEYER LITTLE, BROWN AND COMPANY New York Boston Text copyright © 2005 by Stephenie Meyer All rights reserved. Little, Brown and Company Time Warner Book Group 1271 Avenue of the Americas, New York, NY 10020 Visit our Web site at www.lb-teens.com First Edition: September 2005 The characters and events portrayed in this book are fictitious.
Whatever is attained through cleverness is short-lived and always turns out to be eventually self- defeating. Cleverness divides; intelligence unites. THE BACKGROUND UNHAPPINESS The ego creates separation, and separation creates suffering. The ego is therefore clearly pathological. Apart from the obvious ones such as anger, hatred, and so on, there are other more subtle forms of negativity that are so common they are usually not recognized as sch, for example, impatience, irritation, nervousness, and being “fed up.” They constitute the background unhappiness that is many people's predominant inner state. You need to be extremely alert and absolutely present to be able to detect them. Whenever you do, it is a moment of awakening, of disidentification from the mind. Here is one of the most common negative states that is easily overlooked, precisely because it is so common, so normal. You may be familiar with it
Create Your Own Future ➤ 203 ple often quit and go back. Motivational speaker Charlie Jones says, “It’s not how far you fall but how high you bounce that counts!” ■ THE TRIGGER OF NEGATIVITY Most negative emotions are triggered by frustrated expectations. You wish, hope, or plan for something to happen in a certain way, and when it doesn’t, you react with impatience and anger. This is quite normal. If you care about a result, you are going to be hurt if you don’t achieve it. The challenge is that emotions are triggered instantaneously. For this reason, you can have very little control over your emotions and reactions at the moment that something happens to you. It is too late. When the disappointment occurs, you will react instinc-
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