Best 88 quotes in «masks quotes» category

One sip of this wine and you will go mad with drunkenness. You will drop your masks and tear your clothes — destroying everything that separates you from the Lover. Once you taste the fruit of this vine, you will be kicked out of the city of yourself. You will forget the world. You will forget yourself. I tell you: you will become a madman who wanders the streets looking for the Lover once you drink this Wine of Love.

Only by concealing our identities can we shed the masks we have to wear at school, at work, even at home - everywhere there is surveillance, policing, punishment - masks that are increasingly indistinguishable from ourselves.

On Saturday afternoons I used to go for a walk with my mother. From the dusk of the hallway, we stepped at once into the brightness of the day. The passerby, bathed in melting gold, had their eyes half-closed against the glare, as if they were drenched with honey, upper lips were drawn back, exposing the teeth. Everyone in this golden day wore that grimace of heat–as if the sun had forced his worshippers to wear identical masks of gold. The old and the young, women and children, greeted each other with these masks, painted on their faces with thick gold paint; they smiled at each other's pagan faces–the barbaric smiles of Bacchus.

Something happens to people when they're masked. They become too free, uncivilized. They may do anything.

People with depression can't just snap out of it or "turn that frown upside down." Depression can be a painful and overwhelming state that makes one unable to function, to think clearly or reasonably, or to want to simply face another day. Many people suffer alone and in silence because they are scared or ashamed. They feel weak…or pitiful. How can a person be incapable of having joy? “Why can’t I just have a good time? Why can’t I get on with it?

So it became, the law of universe, to have the, profoundest, of the words, cloaked in the, darkest of the masks.

Since his back was to her front Chloe had to practically plaster herself against his wide back in order to unbutton his crisp dress shirt, but somehow she didn’t mind. From his low, masculine groan that her action had elicited, she assumed Mark didn’t mind either. His spicy, dangerous scent filled her head as she spread the shirt to find a smooth, muscular chest leading down to powerfully sculpted abs. She wondered what line of work Mark was in. Whatever it was, he certainly kept himself in shape. “Are you enjoying yourself, Mistress?” His smart-ass tone threw her, breaking her concentration on his muscled chest. “I’ll ask the questions,” Chloe snapped, deciding abruptly that it was time to move on. She still felt a definite lack of control in this situation and it made her nervous, shattering the fragile self-confidence she’d managed to build. But she couldn’t stop searching him now or he’d be the winner of this little confrontation. She let her hands slide lower, past the waistband of his pants to the bulging crotch. Oh my God, is he for real? She hadn’t been with very many men—okay, two. She’d only been with two other men. But Mark more than measured up to any other guy in her experience. In fact, she could barely believe what she was feeling was real. It was a damn good thing rule number two was “never have sex with the client”. She was pretty sure she wouldn’t have been able to handle what Mark was packing. “Uh, Mistress, that’s all me, not a toy.” Mark’s deep voice still held a hint of amusement though it was sounding rather strained now. “And you might want to think of it less as a ‘toy’ than a loaded gun. One that’s going to go off if you’re not careful.

Sometimes, days and months of conversation cannot do what an hour of play can achieve. It might take an hour of play to know a person, real person lurking behind the mask.

There’s no such thing as a good or bad person: there are just people who have each been or seem to have been good or bad to you, someone, or some people, thus far.

The mask in which you choose to disguise yourself uncovers who you subconsciously are or want to be. Masks reveal in the eyes the face that lies hidden as if the mask is a dark glass mirroring your soul.

There are a great number of ego defenses, and the combinations and circumstances in which we use them reflect on our personality. Indeed, one could go so far as to argue that the self is nothing but the sum of its ego defenses, which are constantly shaping, upholding, protecting, and repairing it. The self is like a cracked mask that is in constant need of being pieced together. But behind the mask there is nobody at home.

There's no use of pretending to be good in front of people who are also doing same to us.. Mutual Deceptions don't lead anywhere !!

There was a closet somewhere inside me. Every day I went near that just to open the door and see all the masks of my face that I hid there. To select one which isn't me but still would look like me, which would hide me from the world in a better way. Day after day I stored so many masks in that closet that one day I searched for my real face in it and it wasn't there. I never understood whether I lost it or I forgot how it looked like, the more I searched the most lost I felt.

The mask's back in place. The heard-it-all smile. The seen-it-all eyes.

There is no need for hyperbole. I did NOT dump you. I peeled your mask off like a banana peel, did not like what was inside, and tossed it in the trash.

There were charming ones as well as terrible ones, that I must admit. The painter was particularly entranced by Japanese masks: warriors', actors' and courtesans' masks. Some of them were frightfully contorted, the bronze cheeks creased by a thousand wrinkles, with vermilion weeping from the corners of the eyes and long trails of green at the corners of the mouths like splenetic beards. 'These are the masks of demons,' said the Englishman, caressing the long black swept-back tresses of one of them. 'The Samurai wore them in battle, to terrify the enemy. The one which is covered in green scales, with two opal pendants between the nostrils, is the mask of a sea-demon. This one, with the tufts of white fur for eyebrows and the two horsehair brushes beside the lips, is the mask of an old man. These others, of white porcelain - a material as smooth and fine as the cheeks of a Japanese maiden, and so gentle to the touch - are the masks of courtesans. See how alike they all are, with their delicate nostrils, their round faces and their heavy slanted eyelids; they are all effigies of the same goddess. The black of their wigs is rather beautiful, isn't it? Those which bubble over with laughter even in their immobility are the masks of comic actors.' That devil of a man pronounced the names of demons, gods and goddesses; his erudition cast a spell. Then: 'Bah! I have been down there too long!' Now he took up the light edifices of gauze and painted silk which were Venetian masks. 'Here is a Cockadrill, a Captain Fracasse, a Pantaloon and a Braggadocio. Only the noses are different - and the cut of their moustaches, if you look at them closely. Doesn't the white silk mask with enormous spectacles evoke a rather comical dread? It is Doctor Curucucu, an actual marionette featured in the Tales of Hoffmann. And what about that one, with all the black horsehair and the long spatulate nose like a stork's beak tipped with a spoon? Can you imagine anything more appalling? It's a duenna's mask; amorous young women were well-guarded when they had to go about flanked by old dragons dressed up in something like that. The whole carnival of Venice is put on parade before us beneath the cape and the domino, lying in ambush behind these masks... Would you like a gondola? Where shall we go, San Marco or the Lido?

The social codes are different, distinctly preppy, fraternity-sorority, hip, flip, fast-and-cute, nauseating, and artificial. I have no doubt that the majority of these people are interesting, likeable, intelligent people. Unfortunately, they've been taught not to show it. The problem lies in socializing. When these people socialize, they don a common "mask." They talk a certain way (hip, flip) act a certain way, do certain things, all of which have been defined as socially acceptable. By acting in such a way, one makes "friends." With time, friends use their masks less and less, and a true, deep friendship results.

The secret is to become someone else, something else. All sex grows dull. You renew it by reinventing yourself, and as a new character, you have new urges. I adore being a rabbit.

The whole of history is the history of murderers. If you become a murderer, fame will be very easy. You can become a prime minister, you can become a president—but these are all masks. Behind them you will find very violent people, terribly violent people hiding, smiling. Those smiles are political, diplomatic. If the mask slips, you will always see Genghis Khan, Tamerlane, Nadir Shah, Napoleon, Alexander, Hitler, hiding behind.

The sun tried to shine through the clouds but its light was dimmed even in us; high noon approached. I looked outside through the tinted windows at the people promenading down Madison. Couples held hands, bankers squeezed through crowds of window shoppers late for their daily thieving but all of them, even the poor, seemed content with existence, some even seemed happy. Nearly everyone’s outer shell was delicate and gracious that at the end of it all, on the border of nonexistence, each and everyone was happy to be alive. Everyone carried their heads with a radiance past the space they occupied and glided through time like flamenco dancers in a studio as big as the planet. Everyone wore masks that hid their sorrow (either that or they were sincerely happy) or wore armor that lightened the burden on their shoulders. Worst of all, I could not detect ever a flicker of thought; brains mired behind viral images and videos of people making even greater fools of themselves than they already were. And as the greatest fool of them all, I walked among them, never having learned to don the mask of happiness.

They wear masks that hide how hairy they are on the inside.

We put on masks we believe will be more acceptable to the world than the truth of who we are. In doing so we sacrifice the gift of self-acceptance.

Typically, in politics, more than one horse is owned and managed by the same team in an election. There's always and extra candidate who will slightly mimic the views of their team's opposing horse, to cancel out that person by stealing their votes just so the main horse can win. Elections are puppet shows. Regardless of their rainbow coats and many smiles, the agenda is one and the same.

Was Briony the only person who could hear the venom dripping from the woman’s tongue? What good was beauty — a mature beauty, but beauty nonetheless — if it cloaked such a viperous soul?

We all wear masks, but it's the one we choose to wear that makes a difference.

We deny more than we confess. We hide more than we reveal. We assume because it makes us feel exposed if we have to ask. It's easier to say "I feel nothing" than to admit "I feel something." It takes no courage to say, "I hate you" but it takes a great deal of moxie to declare its opposite. Masks are elaborate and everyone has one. It takes a while to get to know people. This doesn't make them special, it makes them like everyone else. Sometimes our hearts scream yes while our heads say run; and only one can be obeyed.

You may plainly perceive the traitor through his mask; he is well-known everywhere in his true colors; his rolling eyes and his honeyed tones impose only on those who do not know him.

You may plainly perceive the traitor through his mask; he is well known every-where in his true colors; his rolling eyes and his honeyed tones impose only on those who do not know him. People are aware that this low-bred fellow, who deserves to be pilloried, has, by the dirtiest jobs, made his way in the world; and that the splendid position he has acquired makes merit repine and virtue blush. Yet whatever dishonourable epithets may be launched against him everywhere, nobody defends his wretched honour. Call him a rogue, an infamous wretch, a confounded scoundrel if you like, all the world will say “yea, ” and no one contradicts you. But for all that, his bowing and scraping are welcome everywhere; he is received, smiled upon, and wriggles himself into all kinds of society; and, if any appointment is to be secured by intriguing, he will carry the day over a man of the greatest worth. Zounds! these are mortal stabs to me, to see vice parleyed with; and sometimes times I feel suddenly inclined to fly into a wilderness far from the approach of men.

What is a woman to me? The answer must be: A projection. Who is projecting, and for what reason, I cannot necessarily know from the performance itself. Mr. Umewaka and Mr. Mikata do not when playing their feminine roles feel themselves to be women; they strive, as I so often in my wonderment repeat, to be nothing; yet when they enact women I see them as women. Meanwhile the psyche within a male body which mechanically performs itself as such may see itself as female

What I wear on and off stage is my mask. You see, a mask doesn't hide you, it exposes you.

A douchebag has an image to maintain. He is not real. He is the kind of guy who will change his last name into something cooler and more impressive.

A name is a mask, a hiding place. We are all nameless inside.

A mask tempts the wearer to play out carnal fantasies and, come daylight, the perfume of a stranger’s sex on your flesh and clothes can be blamed or thanked on the metamorphosis stirred by the mystery of the mask.

And I wasn’t playing a role – I was trying to be myself. But the harder I was striving, the more I was realizing that I had probably lost that ‘myself’ somewhere between two perfectly performed roles...

And that was what all the expressions felt like— masks. I didn’t believe them. They were too thorough, too nuanced; they were never at odds with his subject matter.

And the touch of her own mask, at first cool and clammy leather, but quickly like a second skin, and the play it gives her, herself a stage, her every breath a performance, and yet (herein lies the magic) also and entirely true. Every game, every lie flirting and cruel - and the house is full of them, games and lies - is real as knives, for the masquerade has come to define the night. The false face of everyday, that hides reality beneath flesh and skin, is itself hidden beneath the fantasy that, because it is a product and reflection of the mind, is an honest facade. Sadie has lived a wary, defensive life, always urged by that self-preserving instinct to stay small, hidden, safe. She did not know she had an imp inside her until she wore it on her face. ("One Of The Hungry Ones")

Anyone can be polite to a stranger. Anyone can remain charming when spending time with an acquaintance, but what about those with whom we have familiarity? We hurt, offend and piss off the ones we love the most. Whenever we come home from playing nice and kissing ass instead of lips, we remove the masks and be who we really are.

Anyway. I think forcing yourself to keep up appearances and putting up this identity that isn't yours, a mask you don't wear when you're alone, is phony. If you have to do all that stuff to get someone to love you, then can you really say they love you and who you really are? Once you change yourself to win affection, to win love, I don't even know if you can still call you you. If you've built your relationship on pretense and lies, it'll probably fail in some way or another, and if you've fundamentally changed yourself, then it's not really you.

Do you care about your image?' Even as the words were coming out of my mouth, I was mentally kicking myself. He'd been kidding around, and meanwhile I sounded like an afternoon special. But he didn't seem to mind. 'Sure. It's my armor.' 'Your what?' The WALK sign flashed, and he put a hand on my elbow as we crossed the street. And yes, even that faint pressure on that small spot made my entire arm tingle. 'My armor. You know. Self-protective camouflage. Everybody has an armor. Even you, I bet, even though I still haven't figured out what form yours takes.

A red nose is the clown's mask and my moustache is mine.

Artists hide their identities in the brushstrokes of their paintings, the verses in their cantos, and the sentences in their novels. The true face of an artist is never on his face and this is what he prefers. Others misunderstand this displaced melancholy with an absence of melancholy.

As a child I had been quiet and invisible when troubled; as an adult, I had hidden my mental illness behind an elaborate construction of laughter and work and dissembling.

Be a man! Put on a mask.

Being watched in the act of coitus is disconcerting, even for the most brazen. Yet, more than merely making the experience tolerable, masks reveal an innate longing to play to the crowd, to be naked, sweating, screaming in orgasm.

Doubtless some ancient Greek has observed that behind the big mask and the speaking-trumpet, there must always be our poor little eyes peeping as usual and our timorous lips more or less under anxious control.

Art is the conscious making of numinous phenomena. Many objects are just objects - inert, merely utilitarian. Many events are inconsequential, too banal to add anything to our experience of life. This is unfortunate, as one cannot grow except by having one’s spirit greatly stirred; and the spirit cannot be greatly stirred by spiritless things. Much of our very life is dead. For primitive man, this was not so. He made his own possessions, and shaped and decorated them with the aim of making them not merely useful, but powerful. He tried to infuse his weapons with the nature of the tiger, his cooking pots with the life of growing things; and he succeeded. Appearance, material, history, context, rarity - perhaps rarity most of all - combine to create, magically, the quality of soul. But we modern demiurges are prolific copyists; we give few things souls of their own. Locomotives, with their close resemblance to beasts, may be the great exception; but in nearly all else with which today’s poor humans are filling the world, I see a quelling of the numinous, an ashening of the fire of life. We are making an inert world; we are building a cemetery. And on the tombs, to remind us of life, we lay wreaths of poetry and bouquets of painting. You expressed this very condition, when you said that art beautifies life. No longer integral, the numinous has become optional, a luxury - one of which you, my dear friend, are fond, however unconsciously. You adorn yourself with the same instincts as the primitive who puts a frightening mask of clay and feathers on his head, and you comport yourself in an uncommonly calculated way - as do I. We thus make numinous phenomena of ourselves. No mean trick - to make oneself a rarity, in this overpopulated age.

A successful actor is praised for never giving up his dreams to become someone else for a living but to dream to be an unmasked artist is a mortal sin in a consumerist society. Artists don't consume; they create things that can’t be consumed with riches. You consume art by seeing, by listening, by feeling, never by buying.

Do you act the same in society as you do in private? Do you speak to everyone the same way?" "No, no quite," I replied, wincing. "Of course. No one does. You put on one disguise for society. You put on another for your sister. For your parents. Your customer the other night." I felt my face warm. "But what about in private? Anyone can be themselves then without--ah! Ow!-- without putting on an act." “We do not remain the same each minute to the next. Every word you hear, every sight you see, every smell, every thought you have, every moment—it all changes you. We keep putting on mask after mask, layers over layers. That’s how one grows.

Even I don’t know myself... In fact, I don’t know if I really have a self at all, as I’m constantly playing different roles and pretending – not so much on stage as in real life...

Emotions don’t interfere in my acting, nor in my life.