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Mânia, se spune, „este folositoare, pentru că se sustrage dispreţului, pentru că îi îngrozeşte pe oamenii răi.”
În primul rând, dacă mânia are forţă pe cât este de ameninţătoare, este urâtă tocmai pentru că poate îngrozi; este însă mai primejdios să fie temută decât dispreţuită.
Dacă însă nu are forţă, este expusă dispreţului şi nu scapă de bătaia de joc: ce este de fapt mai prostesc decât mânia care se agită în zadar? În al doilea rând, anumite lucruri nu sunt de dorit, pentru că pot provoca mai multă groază, şi n-aş vrea să i spună înţeleptului acest lucru: „Arma animalului sălbatic este şi a înţeleptului: a fi temut.” Cum? Nu este temută febra, guta, rana infectată? Oare din acest motiv există ceva bun în ele?
Dimpotrivă însă, toate acestea sunt dispreţuite, urâte şi dezgustătoare, tocmai pentru că sunt temute.
Astfel, mânia în sine este urâtă şi foarte puţin înfricoşătoare, şi cu toate acestea este temută de cei mai mulţi oameni, aşa cum se tem copiii de o mască respingătoare.
Ce să mai spun de faptul că frica se revarsă mereu asupra celor care o inspiră şi nici unul dintre cei temuţi nu este el însuşi fără teamă? Ţi-ar putea veni în minte versul faimos al lui Laberius, care, o dată ce l-a pronunţat în teatru în timpul războiului civil, a atras asupră-şi atenţia întregului popor, de parcă s-ar fi dat glas stării de spirit a tuturor:
„Trebuie să se teamă de mulţi, cel de care se tem mulţi”.
Natura a făcut aşa încât orice important prin teama pe care le-o provoacă altora, să nu fie liber de propria teama. Cât de temătoare sunt inimile leilor la cele mai uşoare zgomote! O umbră, un glas, un miros neaşteptat nelinişteşte cele mai curajoase animale: orice provoacă groaza, tremură el însuşi. De aceea, nu există nici un motiv pentru care un înţelept să-şi dorească să fie temut, şi nu trebuie să considere că mânia este importantă deoarece provoacă frică: sunt temute până şi lucrurile cele mai dispreţuite, cum sunt otrăvurile, dinţii şi muşcăturile veninoase.
Şi, de vreme ce o sfoară înnodată cu pene opreşte turme imense de fiare şi le atrage în capcană, nu este de mirare că ceea ce rezultă chiar de aici se cheamă „spaimă”.
Pentru cei lipsiţi de consistenţă sunt motiv de groază lucrurile inconsistente: mişcarea carului de curse şi imaginea roţilor care se învârtesc îi face pe lei să se întoarcă în cuşcă, pe elefanţi îi îngrozeşte râgâitul de porc.
Aşa este temută mânia: ca o umbră pentru copii, ca o pană roşie pentru fiare; nu are în sine ceva solid sau puternic, ci tulbură spiritele simple.
Ramîi cu bine,

Seneca

P!nk - Family Portrait

Family Portrait is a song written by Pink and Scott Storch for Pink's second album Missundaztood (2001).
The song is about relationships and her family that was about to fall to pieces, portraying the conflict through the eyes of her as a child.
It was released as the album's fourth and final single in December 2002. It peaked in the top 20 in both the U.K. and U.S.
Pink told Q magazine that the song got her into trouble with her mother. The singer commented: "She went to the National Enquirer. We laugh about it now, but it wasn't the best way to address family problems."
Cultural impact
According to Pink's father, James Moore Jr., during an E! Entertainment's E! True Hollywood Story, this song has been unofficially named the national anthem for young kids who have been through the harsh effects of divorce of their parents: "I have got letters from parents thanking us from this song."
The song, which she wrote and composed in collaboration with Scott Storch, was still going strong as of late April 2012, with millions of hits on YouTube and millions of albums sold from Missundaztood. "It took me a while to listen to 'Family Portrait' without getting emotional," Pink's mother told E! True Hollywood Story.
Although the song addresses how Pink struggled through her parents's divorce, it is also addressed to kids, to encourage them to talk with their parents about how they feel about their divorce.
The lyrics:
Mama please stop cryin'
I can't stand the sound
Your pain is painful
And it's tearin' me down

I hear glasses breakin'
As I sit up in my bed
I told Dad you didn't mean
Those nasty things you said

You fight about money
'Bout me and my brother
And this I come home to
This is my shelter

It ain't easy, growin' up in World War III
Never knowin' what love could be
You'll see, I don't want love to destroy me
Like it has done my family

Can we work it out?
(Can we?)
Can we be a family?
(Can we?)
I promise I'll be better
(I promise)
Mommy, I'll do anything
(I'll do anything)

Can we work it out?
Can we be a family?
I promise I'll be better
Daddy, please don't leave

Daddy please stop yelling
(Stop)
I can't stand the sound
(Can't stand the sound)
Make Mama stop cryin'
'Cause I need you around

My mama, she loves you
(I know it)
No matter what she says is true
I know that she hurts you
But remember I love you too

I ran away today
Ran from the noise, ran away
(Ran away)
Don't wanna go back to that place
But don't have no choice, no way

It ain't easy growin' up in World War III
Never knowin' what love could be
That I've seen, I don't want love to destroy me
(I don't want love to destroy me)
Like it did my family

Can we work it out?
(Can we work it?)
Can we be a family?
I promise I'll be better
(I promise I'll do anything)
Mommy, I'll do anything
(To keep you better)

Can we work it out?
Can we be a family?
I promise I'll be better
(I promise, I promise)
Daddy, please don't leave
(Stay)

In our family portrait
(In our family portrait)
We look pretty happy
(We look pretty happy)
Let's play pretend
(Let's play pretend)
Let's act like it comes naturally
(That's right)
(That's right)

I don't wanna have to split the holidays
(No, no)
I don't want two addresses
(No)
I don't want a stepbrother anyways
And I don't want my Mommy
Have to change her last name!

In our family portrait
We look pretty happy
We look pretty normal
Let's go back to that

In our family portrait
We look pretty happy
Let's play pretend
Act like it goes naturally

In our family portrait
(Can we work it out?)
We look pretty happy
(Can we be a family?)
We look pretty normal
(I promise I'll be better)
Let's go back to that
(Mommy I'll do anything)

In our family portrait
(Can we work it out?)
We look pretty happy
(Can we be a family?)
Let's play pretend
(I promise I'll be better)
Act like it goes naturally
(Daddy please don't leave)
Oh let's go back oh lets go back to that

In our family portrait
(Can we work it out?)
We look pretty happy
(Can we be a family?)
We look pretty normal
(I promise I'll be better)
Lets go back to that
(Mommy I'll do anything)

In our family portrait
(Can we work it out?)
We look pretty happy
(Can we be a family?)
We look pretty normal
(I promise I'll be better)
Let's go back to that

(Mommy I'll do anything) 

Te vei gândi mai degrabă că nu trebuie să te mânii pe greşeli. Ce ai spune însă dacă cineva s-ar mânia pe cei care păşesc cu paşi prea siguri în întuneric? Pe cei surzi care nu se supun ordinelor? Şi ce ai spune, dacă ai vrea să te mânii pe cei care se îmbolnăvesc, îmbătrânesc, obosesc?
Între celelalte neplăceri ale condiţiei de muritor se află şi aceasta, întunericul care acoperă mintea şi nu doar nevoia de a greşi, ci chiar dragostea pentru greşeli. Ca să nu te mânii pe fiecare om în parte, trebuie să îi ierţi pe toţi, trebuie să fii îngăduitor cu neamul omenesc.
Dacă te mânii pe tineri şi pe bătrâni pentru că greşesc, atunci mânie-te şi pe copii: şi ei vor greşi. Se mânie oare cineva pe copii, care la această vârstă nu cunosc încă diferenţele dintre lucruri?
A fi om este o scuză mai importantă şi mai corectă decât a fi copil. Cu acest destin ne-am născut, făpturi supuse unor boli ale sufletului care nu sunt mai prejos de cele ale trupului; nu suntem lipsiţi de putere, nici înceţi la minte, dar, folosindu-ne prost de agerimea noastră, ne facem pilde de greşeli unii pentru alţii: dacă unul urmează paşii celor dinainte care au apucat-o pe un drum greşit, oare nu ar avea scuza că drumul public l-a rătăcit?
Asprimea comandantului îl înţeapă pe fiecare soldat în parte, dar este nevoie de indulgenţă când armata întreagă a dezertat.
Ce ţine departe mânia înţeleptului? Mulţimea celor care greşesc: el înţelege cât de nedrept şi de primejdios este să te mânii pe greşeli comune tuturor.
Heraclit, ori de câte ori ieşea şi vedea în jurul său atâţia oameni care îşi duceau prost viaţa, ba chiar şi mureau prost, plângea, îi compătimea pe toţi cei care îi ieşeau în drum veseli şi prosperi; avea un suflet blând, dar prea slab: el însuşi era dintre cei care aveau nevoie de compătimire.
Despre Democrit, dimpotrivă, se spune că nu se arăta niciodată în public fără să râdă: până într-atât nu i se părea serios nimic din lucrurile care se îndeplineau cu seriozitate.
Oare este loc pentru mânie în acest loc în care trebuie fie să râdem, fie să le deplângem pe toate? Înţeleptul nu se va mânia pe cei care greşesc: de ce? Cum ştie că nimeni nu se naşte înţelept, ci devine aşa, ştie că în orice epocă prea puţini ajung înţelepţi – pentru că a cercetat atent condiţia vieţii omeneşti.
Şi astfel înţeleptul, blând şi drept cu greşelile, îndreptându-i pe cei care greşesc fără să le fie duşman, porneşte în fiecare zi cu acest gând: „Îmi vor ieşi în cale mulţi indivizi cu patima vinului, mulţi desfrânaţi, mulţi nerecunoscători, mulţi lacomi, mulţi oameni tulburi de furia ambiţiei”. Va privi toate aceste lucruri la fel de binevoitor ca un medic pe bolnavii săi.
Oare navigatorul a cărui corabie înghite multă apă, pentru că încheieturile s-au desfăcut peste tot, se mânie pe marinari ori chiar pe corabie? Mai degrabă se opinteşte şi într-o parte nu lasă apa să intre, într-alta o scoate afară, închide bine spărturile vizibile, se luptă fără preget cu cele ascunse şi care aduc apă înăuntru în secret, şi nu întrerupe efortul pentru apa pe care a scos-o afară creşte la loc, dedesubt.
Este nevoie de un sprijin tenace împotriva răului continuu şi prolific, nu ca să înceteze, ci ca să nu învingă.

Ramîi cu bine,

Seneca

Reba McEntire feat. Kenny Chesney - Every Other Weekend

Every Other Weekend is a duet by American country music artists Reba McEntire and Kenny Chesney, recorded on the former's 2007 album Reba: Duets.
The song, written by Skip Ewing and Connie Harrington, is the third and final single from the album.
When shipped to radio, Chesney's vocals were replaced with Ewing's, although for most of its chart run the song was not credited to either duet partner.
"Every Other Weekend" is a mid-tempo ballad backed by piano and a string section. It alternates between the male and female duet partners, who take the roles of a divorced couple that share custody of their children and exchange them "every other weekend". Despite the fact that they are divorced, both characters state that they still love each other but are unable to tell each other in front of their children.
This song is about a divorced couple who every other weekend trade off the kids. The couple still wishes that they where together, and for 15 minutes they feel like a family again.
In the music video, Joanna García and Steve Howey, who were Cheyenne and Van Montgomery on the hit TV show Reba, play the roles as the two parents after the show had ended.
This was written by Skip Ewing and Connie Harrington. Ewing is also a singer, and duets with Reba on the single version of this song, singing from the perspective of the father. For the album, Kenny Chesney sang the father's part.
Music video
The music video was filmed in early June 2008, in Los Angeles, California.
The video was directed by Roman White and features Joanna García and Steve Howey, both of whom starred in McEntire's sitcom Reba as Cheyenne and Van, respectively.
Chesney and Ewing do not appear in the video, although Chesney's recording is used. The video debuted on July 8, 2008.
The lyrics:
Every other Friday
It's toys and clothes and backpacks
Is everybody in? Okay, let's go see Dad
Same time in the same spot
Corner of the same old parking lot
Half the hugs and kisses, they are always sad

We trade a couple words
And looks and kids again
Every other weekend

Every other weekend, very few exceptions
I pick up the love we made in both my arms
It's movies on the sofa
Grilled cheese and cut the crust off
But that's not the way Mom makes it
Daddy breaks my heart

I miss everything
I used to have with her again
Every other weekend

I can't tell her I love her
(I can't tell him I love him)
'Cause there's too many questions
And ears in the car

So I don't tell him I miss him
(I don't tell her I need her)
She's over me, that's where we are
So we're as close as we might ever be again
Every other weekend

Every other Saturday, first thing in the morning
I turn the TV on to make the quiet go away
I know why, but I don't know
Why we ever let this happen
Fallin' for forever was a big mistake

There's so much not to do
And all day not to do with him
Every other weekend

Every other Sunday I empty out my backseat
While my children hug their mother in the parking lot
We don't touch, we don't talk much
Maybe goodbye to each other
As she drives away with every piece of heart I got

I re-convince myself
We did the right thing
Every other weekend

I can't tell her I love her
(I can't tell him I love him)
'Cause there's too many questions
And ears in the car

So I don't tell him I miss him
(I don't tell her I need her)
She's over me, that's where we are
We're as close as we might ever be again
Every other weekend

Yeah, for fifteen minutes
We're family again
God, I wish that he was still with me again

Every other weekend

Nu judeca oamenii dupa greutatea lor, dupa puterea lor, dupa averea lor, dupa frumusetea lor sau dupa ravna lor, caci si unul si altul a lasat din ceva pentru a creste in altceva.
Cel bogat este sarac in liniste, cel tare este slab pentru altul si cel slab are taria lui ascunsa.
Cum firea lucrurilor este miscatoare, asemeni este si omul.
Ce da valoarea unei unelte, trebuinta sau frumusetea?


Duce un om mai mult decat boul?
E mai bogat vreunul ca pamantul?
Doar cunoasterea si intelepciunea il ridica pe om peste dobitoace. Si degeaba ai cunoastere daca ea nu este lamurita de vreme.
(Zamolxe)

„Virtutea”, zice unul, „aşa cum priveşte cu ochi buni faptele onorabile, la fel trebuie să se mânie pe cele ruşinoase.” Cum ar fi fost dacă ar spune că virtutea trebuie să fie şi umilă şi nobilă? Şi totuşi, asta susţine cel care o vrea şi înălţată şi doborâtă, pentru că bucuria în urma unui lucru bine făcut este strălucitoare şi grandioasă, iar mânia în urma greşelii celuilalt este meschină şi proprie unei minţi înguste.


Niciodată virtutea nu va comite greşeala de a imita viciile, în timp ce le înfrânează; consideră demnă de mustrat mânia în sine, care nu este cu nimic mai bună, ci deseori chiar mai rea decât acele greşeli pe care se mânie.
Ramîi cu bine,
Seneca.

Între indivizi pe care îi vezi îmbrăcaţ în togă, nu există nici un fel de pace: unul este împins să îl ducă pe celălalt la pierzanie din simplu interes, nimeni nu are un câştig decât de pe urma nedreptăţii făcute celuilalt; urăsc un individ prosper, îl dispreţuiesc pe cel care nu e prosper; îi suportă cu greu pe cei superiori, cei inferiori sunt ei înşişi greu de suportat; sunt aţâţaţi de plăceri opuse; pentru o simplă plăcere şi un simplu profit doresc distrugerea tuturor. Viaţa lor nu este diferită de aceea într-o şcoală de gladiatori, trăiesc şi se luptă cu aceleaşi persoane.
Asta este o adunare de fiare: doar că animalele sunt liniştite între ele şi se abţin să le muşte pe cele asemenea lor, în timp ce oamenii se ghiftuiesc sfâşiindu-se reciproc. Doar prin aceasta se deosebesc de animalele necuvântătoare: ele devin blânde cu cei care le dau să mănânce, în schimb aceşti indivizi turbaţi îi muşcă şi pe cei ce-i hrănesc.
Înţeleptul nu va înceta niciodată să se mânie, dacă a început deja să o facă: lumea întreagă este plină de delicte şi de vicii, se comit mai multe decât s-ar putea repara prin constrângeri, oamenii se măsoară parcă într-o uriaşă întrecere de ticăloşie, dorinţa de a face rău este cu fiecare zi mai mare, reţinerea este mereu mai mică: o dată eliminată aprecierea pentru ceea ce este mai bun şi mai drept, capriciul se impune oriunde îi place. Delictele nu mai sunt ascunse, ne trec prin faţa ochilor, iar ticăloşia este până într-atât afişată în public şi a prins puteri în inimile tuturor, încât nevinovăţia este nu rară, ci inexistentă.
Adaugă acum sperjurul public între neamuri, tratatele rupte, puternicul care ia ca pradă orice nu-i opune rezistenţă, înşelăciuni, hoţii, fraude, nerecunoaşteri de datorii, delicte pentru care nu sunt de-ajuns trei foruri. Dacă vrei ca un înţelept să se mânie atât cât îi cere nevrednicia delictelor, atunci el nu trebuie să se mânie, ci să înnebunească.
Ramîi cu bine,

Seneca

Sanctus Real -Don't Give Up

Don't Give Up is a song by Christian rock band Sanctus Real from their 2006 album The Face of Love.
The song was released as a radio single in early 2007, and reached number 1 on R&R's Christian CHR chart in the beginning of May 2007.
It is the band's fifth number 1 hit, and the second chart-topping single from The Face of Love.
It ended 2007 as the 6th most played song of the year on Christian contemporary hit radio.
Music and lyrics
"Don't Give Up" is a rock-based song which encourages the longevity of marriage relationships.
Lead singer Matt Hammit said: "The song was inspired by close friends of ours that made difficult decisions to end their marriages. I'm not here to judge those decisions, but as a band we want to be a voice for lasting love and commitment in a world where breaking vows is as common as taking them."
The song has been compared to U2's "Beautiful Day" and Coldplay's "Speed of Sound", having similarities in style to the band's previous album, Fight the Tide.
The lyrics:
Well, I heard you say you would love for a lifetime
And now you complain a lifetime just doesn't feel right for you
Another casualty of casual love
Another soul out of place, a heart that gave up

Why do we break the promises we make?
Are we living for ourselves?

And don't give up on love and throw it all away
Don't give up on love and let it fall away
When did it become so easy to run from your pain?
Don't give up on love and throw it all away, don't give up on love

Well, I heard you say
You can't change a stubborn heart
Yeah, I can relate
Cause that's how I feel when I talk with you

Why should it take losing everything
To realize it might be time to change?

Don't give up on love and throw it all away
Don't give up on love and let it fall away
When did it become so easy to run from your pain?
Don't give up on love and throw it all away

And your restless heart won't win
Cause you take but you don't give
And you'll keep moving on
Until you learn what love is

Yeah, your restless heart won't win
Cause you take but you don't give
And you'll keep moving on
Until you learn what love is

Don't give up on love and throw it all away
Don't give up on love and let it fall away
(Don't give up on love)
Don't give up on love, love
(Don't give up on love)
Don't give up on love, love

Yeah, your restless heart won't win
Cause you take but you don't give
And you'll keep moving on
Until you learn what love is

Don't throw it all away

Phil Collins - Doesn't Anybody Stay Together Anymore

Doesn't Anybody Stay Together Anymore is a song in which Phil Collins was making a personal message.
The song was made in response to everyone around him getting a divorce, including his manager, friends and himself years before.
Collins later said that he sang this at Charles, Prince of Wales' 40th birthday party, not knowing that the Prince's divorce from his wife, Diana, Princess of Wales, would happen a short time later.
The Phil Collins Big Band played this on tour. In later years, Collins performed a re-arranged version of the song as a ballad as part of his Serious Hits… Live! tour, differing considerably from the original up-beat album version.
"You know, I was very happily married to Jill, my present wife, when I wrote it, but I had been divorced, my manager was getting divorced, a couple of good friends were getting divorced, and I thought, What's going on? Doesn't anybody stay together any more? The song came from that." – Phil Collins, stating his inspiration for the song "Doesn't Anybody Stay Together Anymore?", Playboy interview, October 1986.
The lyrcis:
You keep on walking so you don't fall down
It's the same old story
You keep on hiding so you can't be found
It's the same old story

Oh, but I know you, you're the one who ran
You know why, it's because you can, oh
But it's alright, 'cause I don't mind
I'm just trying to help

But I wonder why, doesn't anybody stay together anymore
I wonder why, doesn't anybody stay together anymore

My friends keep falling and they can't get up
It's the same old story
Well, one says white and the other one black
It's the same old story

And I don't know why you keep emotions walled up
Your heart's on your sleeve, but your sleeve is rolled up
But it's alright, 'cause I don't mind
I'm just trying to help

But I wonder why, doesn't anybody stay together anymore
Oh, I wonder why, doesn't anybody stay together anymore
I wonder why, doesn't anybody stay together anymore
I wonder why, doesn't anybody stay together anymore

Things can change, from a misunderstanding
Nobody talks, nobody hears, oh oh oh

Makes me wonder why, doesn't anybody stay together anymore
Oh, I wonder why, doesn't anybody stay together anymore

You keep on looking for that higher ground
It's the same old story
Your glass is empty and the chips are down
It's the same old story

But I don't know why, your emotions walled up
Your heart's on your sleeve, but your sleeve is rolled up
But it's alright, 'cause I don't mind
I'm just trying to help

But I wonder why, doesn't anybody stay together anymore
Oh, I wonder why, doesn't anybody stay together anymore
Oh, I wonder why, doesn't anybody stay together anymore
Oh, I wonder why, doesn't anybody stay together anymore
Oh, I wonder why, doesn't anybody stay together anymore

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