I dreamed I had an interview with God...!!

I dreamed I had an interview with God.

“So you would like to interview me?” God asked.

“If you have the time” I said.

God smiled. “My time is eternity.”
“What questions do you have in mind for me?”

“What surprises you most about humankind?”

God answered...
“That they get bored with childhood,
they rush to grow up, and then
long to be children again.”

“That they lose their health to make money...
and then lose their money to restore their health.”

“That by thinking anxiously about the future,
they forget the present,
such that they live in neither
the present nor the future.”

"That they live as if they will never die,
and die as though they had never lived.”

God’s hand took mine
and we were silent for a while.

And then I asked...
“As a parent, what are some of life’s lessons
you want your children to learn?”

“To learn they cannot make anyone
love them. All they can do
is let themselves be loved.”

“To learn that it is not good
to compare themselves to others.”

“To learn to forgive
by practicing forgiveness.”

“To learn that it only takes a few seconds
to open profound wounds in those they love,
and it can take many years to heal them.”

“To learn that a rich person
is not one who has the most,
but is one who needs the least.”

“To learn that there are people
who love them dearly,
but simply have not yet learned
how to express or show their feelings.”

“To learn that two people can
look at the same thing
and see it differently.”

“To learn that it is not enough that they
forgive one another, but they must also forgive themselves.”

"Thank you for your time," I said humbly.

"Is there anything else
you would like your children to know?"

God smiled and said,
“Just know that I am here... always.”

A Few Questions That Makes You Think Is Worth Asking…

At the cusp of a new day, week, month, or year, most of us take a little time to reflect on our lives by looking back over the past and ahead into the future.  We ponder the successes, failures and standout events that are slowly scripting our life’s story.  This process of self reflection helps us maintain a conscious awareness of where we’ve been and where we intend to go.  It is pertinent to the organization and preservation of our dreams, goals and desires. I recommend that you read and reread these questions regularly when you have some quiet time to think.  After all, reflection is the key to progression. Remember, these questions have no right or wrong answers.  Because asking the right question is the answer.

Do you know how to inspire people around you?

Here are some steps and tips to inspire people. Read on and get to know..

STEPS

• Be friendly. Being friendly doesn't always mean having sleepovers constantly with people you barely know. Just saying “I like your sweater” to someone, or even just saying "hi" to someone can cause them to have a more positive attitude towards you, and you may even inspire them.
• Be thoughtful. If someone asks you a question or asks for help, instead of just saying, "Don’t know..." This way, seriously think about it before answering, people will start to think of you as caring and thoughtful instead of just, "Oh, that person? Yeah, she's just a girl in my class."
• Try your best. This is probably one of the most important steps. Always go into things with good intentions and positive thoughts. Most likely, you'll be admired for your determination and, most likely, will do better. When you lose a cricket game or have a bad day at school or work, try to go through it with a quiet smile and do better next time. Don't blame it all on yourself, nor should you blame it on anyone else, It will make you look the opposite of inspiring. This is common sense, but it's surprising how many people forget how awesome they really are!
• Know when to be quiet. You don't always have to talk to inspire people. It's usually your actions that inspire people, not your words.
• Be someone you'd want to be around. In other words, be someone that you would enjoy being around. If you don't like how you act, chances are other people won't like you, either.

TIPS

• Try studying a person that you've always looked up to see how they act.
• Try to come off as having a grave countenance. Imagine having the forcefulness of being angry, but with a clear resolution. That is, don't be upset, but have a die-hard seriousness about you. This is the easiest way to get people to notice you and for you to open the door to inspire.

WARNINGS

• Don't forget to ask your parents or a trusted friend if you start to feel a bit overwhelmed.
• Don't become too overconfident!

You'll have two choices in your life - Choose to be HAPPY; You'll be Happy. Choose to be SAD; You'll be sad..!! :)

Vicky was the kind of guy you love to hate. He was always in a good mood and always had something positive to say. When someone would ask him how he was doing, he would reply, "If I were any better, I would be twins!" He was a unique manager because he had several waiters who had followed him around from restaurant to restaurant. The reason the waiters followed Vicky was because of his attitude. He was a natural motivator.
If an employee was having a bad day, Vicky was there telling the employee how to look on the positive side of the situation. Seeing this style really made me curious, so one day I went up to Vicky and asked him, "I don't get it! You can't be a positive person all of the time. How do you do it?"
Vicky replied, "Each morning I wake up and say to myself, 'Vicky, you have two choices today. You can choose to be in a good mood or you can choose to be in a bad mood.' I choose to be in a good mood. Each time something bad happens, I can choose to be a victim or I can choose to learn from it. I choose to learn from it. Every time someone comes to me complaining, I can choose to accept their complaining or I can point out the positive side of life. I choose the positive side of life."
"Yeah, right, it's not that easy," I protested.
"Yes, it is," Vicky said. "Life is all about choices. When you cut away all the junk, every situation is a choice. You choose how you react to situations. You choose how people will affect your mood. You choose to be in a good mood or bad mood. The bottom line: It's your choice how you live life."
I reflected on what Vicky said. Soon thereafter, I left the restaurant industry to start my own business. We lost touch, but I often thought about him when I made a choice about life instead of reacting to it.
Several years later, I heard that Vicky did something you are never supposed to do in a restaurant business: he left the back door open one morning and was held up at gunpoint by three armed robbers. While trying to open the safe, his hand, shaking from nervousness, slipped off the combination. The robbers panicked and shot him. Luckily, Vicky was found relatively quickly and rushed to the local trauma center.
After 18 hours of surgery and weeks of intensive care, Vicky was released from the hospital with fragments of the bullets still in his body.
I saw Vicky about six months after the accident. When I asked him
how he was, he replied, "If I were any better, I'd be twins. Wanna see my scars?"
I declined to see his wounds, but did ask him what had gone through his
mind as the robbery took place. "The first thing that went through my mind was that I should have locked the back door," Vicky replied. "Then, as I lay on the floor, I remembered that I had two choices: I could choose to live, or I could choose to die. I chose to live."
"Weren't you scared? Did you lose consciousness?" I asked.
Vicky continued, "The paramedics were great. They kept telling me I was going to be fine. But when they wheeled me into the emergency room and I saw the expressions on the faces of the doctors and nurses, I got really scared. In their eyes, I read, 'He's a dead man.' I knew I needed to take action."
"What did you do?" I asked.
"Well, there was a big, burly nurse shouting questions at me," said Vicky. "She asked if I was allergic to anything. 'Yes,' I replied. The doctors and nurses stopped working as they waited for my reply. I took a deep breath and yelled, 'Bullets!' Over their laughter, I told them, 'I am choosing to live. Operate on me as if I am alive, not dead.'"
Vicky lived thanks to the skill of his doctors, but also because of his amazing attitude. I learned from him that every day we have the choice to live fully. Attitude, after all, is everything.

Make each and every difficulty into a positivity and live your life Happily..!! :)

A store owner was tacking a sign above his door that read "Puppies For Sale."
Signs like that have a way of attracting small children, and sure enough, a little boy appeared under the store owner's sign. "How much are you going to sell the puppies for?" he asked.
The store owner replied, "Anywhere from Rs.3,000 to Rs.5,000."
The little boy reached in his pocket and pulled out some change. "I have Rs.2,370," he said. "Can I please look at them?"
The store owner smiled and whistled and out of the kennel came Lady, who ran down the aisle of his store followed by five teeny, tiny balls of fur.
One puppy was lagging considerably behind. Immediately the little boy singled out the lagging, limping puppy and said, "What's wrong with that little dog?"
The store owner explained that the veterinarian had examined the little puppy and had discovered it didn't have a hip socket. It would always limp. It would always be lame.
The little boy became excited. "That is the puppy that I want to buy."
The store owner said, "No, you don't want to buy that little dog. If you really want him, I'll just give him to you."
The little boy got quite upset. He looked straight into the store owner's eyes, pointing his finger, and said, "I don't want you to give him to me. That little dog is worth every bit as much as all the other dogs and I'll pay full price. In fact, I'll give you Rs.2,370 now, and Rs.200 a month until I have him paid for."
The store owner countered, "You really don't want to buy this little dog. He is never going to be able to run and jump and play with you like the other puppies."
To his surprise, the little boy reached down and rolled up his pant leg to reveal a badly twisted, crippled left leg supported by a big metal brace. He looked up at the store owner and softly replied, "Well, I don't run so well myself, and the little puppy will need someone who understands!"
We ALL need someone who Understands!

---

A Story To Inspire An Imperfect You..!! :)

A water bearer in India had two large pots, each hung on each end of a
pole which he carried across his neck. One of the pots had a crack in
it, and while the other pot was perfect and always delivered a full portion
of water at the end of the long walk from the stream to the master's house,
the cracked pot arrived only half full.

For a full two years this went on daily, with the bearer delivering only
one and a half pots full of water to his master's house. Of course, the
perfect pot was proud of its accomplishments, perfect to the end for
which it was made. But the poor cracked pot was ashamed of its own
imperfection, and miserable that it was able to accomplish only half of
what it had been made to do. After two years of what it perceived to be a
bitter failure, it spoke to the water bearer one day by the stream.

"I am ashamed of myself, and I want to apologize to you."

"Why?" asked the bearer. "What are you ashamed of?"

"I have been able, for these past two years, to deliver only half my load because this crack in my side causes water to leak out all the way back to your master's house. Because of my flaws, you have to do all of this work, and you don't get full value from your efforts," the pot said.

The water bearer felt sorry for the old cracked pot, and in his compassion he said, "As we return to the master's house, I want you to notice the beautiful flowers along the path."

Indeed, as they went up the hill, the old cracked pot took notice of the sun warming the beautiful wild flowers on the side of the path, and this cheered it some. But at the end of the trail, it still felt bad because it had leaked out half its load, and so again it apologized to the bearer for its failure.

The bearer said to the pot, "Did you notice that there were flowers only on your side of your path, but not on the other pot's side?

That's because I have always known about your flaw, and I took advantage of it. I planted flower seeds on your side of the path, and every day while we walk back from the stream, you've watered them.

For two years I have been able to pick these beautiful flowers to decorate my master's table. Without you being just the way you are, he would not have this beauty to grace his house."
Each of us has our own unique flaws. We're all cracked pots. But if we will allow it, the Lord will use our flaws to grace His Father's table.

In God's great economy, nothing goes to waste.

So as we seek ways to minister together, and as God calls you to the tasks He has appointed for you, don't be afraid of your flaws.

Acknowledge them, and allow Him to take advantage of them, and you, too, can be the cause of beauty in His pathway.

Go out boldly, knowing that in our weakness we find His strength, and that "In Him every one of God's promises is a Yes."

Modernist and modern concepts

Sigmund Freud and other later psychologists located inspiration in the inner psyche of the artist. The artist's inspiration came out of unresolved psychological conflict or childhood trauma. Further, inspiration could come directly from the subconscious. Like the Romantic genius theory and the revived notion of "poetic phrenzy," Freud saw artists as fundamentally special, and fundamentally wounded. Because Freud situated inspiration in the subconscious mind, Surrealist artists sought out this form of inspiration by turning to dream diaries and automatic writing, the use of Ouija boards and found poetry to try to tap into what they saw as the true source of art. Carl Gustav Jung's theory of inspiration reiterated the other side of the Romantic notion of inspiration indirectly by suggesting that an artist is one who was attuned to something impersonal, something outside of the individual experience: racial memory.

Materialist theories of inspiration again diverge between purely internal and purely external sources. Karl Marx did not treat the subject directly, but the Marxist theory of art sees it as the expression of the friction between economic base and economic superstructural positions, or as an unaware dialog of competing ideologies, or as an exploitation of a "fissure" in the ruling class's ideology. Therefore, where there have been fully Marxist schools of art, such as Soviet Realism, the "inspired" painter or poet was also the most class-conscious painter or poet, and "formalism" was explicitly rejected as decadent (e.g. Sergei Eisenstein's late films condemned as "formalist error"). Outside of state-sponsored Marxist schools, Marxism has retained its emphasis on the class consciousness of the inspired painter or poet, but it has made room for what Frederic Jameson called a "political unconscious" that might be present in the artwork. However, in each of these cases, inspiration comes from the artist being particularly attuned to receive the signals from an external crisis.

In modern psychology, inspiration is not frequently studied, but it is generally seen as an entirely internal process. In each view, however, whether empiricist or mystical, inspiration is, by its nature, beyond control.

Enlightenment and Romantic models

The descent of the Holy Spirit on the day of the Pentecost and sudden inspiration of the Apostles In the 18th century in England, nascent psychology competed with a renascent celebration of the mystical nature of inspiration. John Locke's model of the human mind suggested that ideas associate with one another and that a string in the mind can be struck by a resonant idea. Therefore, inspiration was a somewhat random but wholly natural association of ideas and sudden unison of thought. Additionally, Lockean psychology suggested that a natural sense or quality of mind allowed persons to see unity in perceptions and to discern differences in groups. This "fancy" and "wit," as they were later called, were both natural and developed faculties that could account for greater or lesser insight and inspiration in poets and painters.

The musical model was satirized, along with the afflatus, and "fancy" models of inspiration, by Jonathan Swift in A Tale of a Tub. Swift's narrator suggests that madness is contagious because it is a ringing note that strikes "chords" in the minds of followers and that the difference between an inmate of Bedlam and an emperor was what pitch the insane idea was. At the same time, he satirized "inspired" radical Protestant ministers who preached through "direct inspiration." In his prefatory materials, he describes the ideal dissenter's pulpit as a barrel with a tube running from the minister's posterior to a set of bellows at the bottom, whereby the minister could be inflated to such an extent that he could shout out his inspiration to the congregation. Furthermore, Swift saw fancy as an antirational, mad quality, where, "once a man's fancy gets astride his reason, common sense is kick't out of doors."

The divergent theories of inspiration that Swift satirized would continue, side by side, through the 18th and 19th centuries. Edward Young's Conjectures on Original Composition was pivotal in the formulation of Romantic notions of inspiration. He said that genius is "the god within" the poet who provides the inspiration. Thus, Young agreed with psychologists who were locating inspiration within the personal mind (and significantly away from the realm either of the divine or demonic) and yet still positing a supernatural quality. Genius was an inexplicable, possibly spiritual and possibly external, font of inspiration. In Young's scheme, the genius was still somewhat external in its origin, but Romantic poets would soon locate its origin wholly within the poet. Romantic writers such as Ralph Waldo Emerson (The Poet), and Percy Bysshe Shelley saw inspiration in terms similar to the Greeks: it was a matter of madness and irrationality.

Inspiration came because the poet tuned himself to the (divine or mystical) "winds" and because he was made in such a way as to receive such visions. Samuel Taylor Coleridge's accounts of inspiration were the most dramatic, and his The Eolian Harp was only the best of the many poems Romantics would write comparing poetry to a passive reception and natural channelling of the divine winds. The story he told about the composition of Kubla Khan has the poet reduced to the level of scribe. William Butler Yeats would later experiment and value automatic writing. Inspiration was evidence of genius, and genius was a thing that the poet could take pride in, even though he could not claim to have created it himself.

Ancient models of inspiration

In Greek thought, inspiration meant that the poet or artist would go into ecstasy or furor poeticus, the divine frenzy or poetic madness. He or she would be transported beyond his own mind and given the gods' or goddesses own thoughts to embody.

Inspiration is prior to consciousness and outside of skill (ingenium in Latin). Technique and performance are independent of inspiration, and therefore it is possible for the non-poet to be inspired and for a poet or painter's skill to be insufficient to the inspiration. In Hebrew poetics, inspiration is similarly a divine matter. In the Book of Amos, 3:8 the prophet speaks of being overwhelmed by God's voice and compelled to speak. However, inspiration is also a matter of revelation for the prophets, and the two concepts are intermixed to some degree. Revelation is a conscious process, where the writer or painter is aware and interactive with the vision, while inspiration is involuntary and received without any complete understanding.

In Christianity, inspiration is a gift of the Holy Spirit. Saint Paul said that all of the Bible is inspired by God (2 Timothy) and the account of Pentecost records the Holy Spirit descending with the sound of a mighty wind. This understanding of "inspiration" is vital for those who maintain Biblical literalism, for the authors of the scriptures would, if possessed by the voice of God, not "filter" or interpose their personal visions onto the text. For church fathers like Saint Jerome, David was the perfect poet, for he best negotiated between the divine impulse and the human consciousness.

In northern societies, such as Old Norse, inspiration was likewise associated with a gift of the gods. As with the Greek, Latin, and Romance literatures, Norse bards were inspired by a magical and divine state and then shaped the words with their conscious minds. Their training was an attempt to learn to shape forces beyond the human. In the Venerable Bede's account of Caedmon, the Christian and later Germanic traditions combine. Caedmon was a herder with no training or skill at verse. One night, he had a dream where Jesus asked him to sing. He then composed Caedmon's Hymn, and from then on was a great poet. Inspiration in the story is the product of grace: it is unsought (though desired), uncontrolled, and irresistible, and the poet's performance involves his whole mind and body, but it is fundamentally a gift.

Artistic Inspiration

Inspiration refers to an unconscious burst of creativity in a literary, musical, or other artistic endeavor. Literally, the word means "breathed upon," and it has its origins in both Hellenism and Hebraism. The Greeks believed that inspiration came from the muses, as well as the gods Apollo and Dionysus. Similarly, in the Ancient Norse religions, inspiration derives from the gods, such as Odin. Inspiration is also a divine matter in Hebrew poetics. In the Book of Amos the prophet speaks of being overwhelmed by God's voice and compelled to speak. In Christianity, inspiration is a gift of the Holy Spirit.

In the 18th century John Locke proposed a model of the human mind in which ideas associate or resonate with one another in the mind. In the 19th century, Romantic poets such as Coleridge and Shelley believed that inspiration came to a poet because the poet was attuned to the (divine or mystical) "winds" and because the soul of the poet was able to receive such visions. In the early 20th century, Sigmund Freud located inspiration in the inner psyche of the artist. Carl Gustav Jung's theory of inspiration suggests that an artist is one who was attuned to racial memory, which encoded the archetypes of the human mind.

The Marxist theory of art sees it as the expression of the friction between economic base and economic super-structural positions, or as an unaware dialog of competing ideologies, or as an exploitation of a "fissure" in the ruling class's ideology. In modern psychology inspiration is not frequently studied, but it is generally seen as an entirely internal process. In each view inspiration is, by its nature, viewed as beyond the control of a person.