Ivory Quotes (displaying: 1 - 30 of 57 quotes )
There are twin Gates of Sleep. One, they say, is called the Gate of Horn and it offers easy passage to all true shades. The other glistens with ivory, radiant, flawless, but through it the dead send false dreams up toward the sky. And here Anchises, his vision told in full, escorts his son and Sibyl both and shows them out now through the Ivory Gate.
Dreams surely are difficult, confusing, and not everything in them is brought to pass for mankind. For fleeting dreams have two gates: one is fashioned of horn and one of ivory. Those which pass through the one of sawn ivory are deceptive, bringing tidings which come to nought, but those which issue from the one of polished horn bring true results when a mortal sees them.
Ohhhhh."A lush-bodied girl in the prime of her physical beauty. In an ivory georgette-crepe sundress with a halter top that gathers her breasts up in soft undulating folds of the fabric. She's standing with bare legs apart on a New York subway grating. Her blond head is thrown rapturously back as an updraft lifts her full, flaring skirt, exposing white cotton panties. White cotton! The ivory-crepe sundress is floating and filmy as magic. The dress is magic. Without the dress the girl would be female meat, raw and exposed. She's not thinking such a thought! Not her. She's an American girl healthy and clean as a Band-Aid. She's never had a soiled or a sulky thought. She's never had a melancholy thought. She's never had a savage thought. She's never had a desperate thought. She's never had an un-American thought. In the papery-thin sundress she's a nurse with tender hands. A nurse with luscious mouth. Sturdy thighs, bountiful breasts, tiny folds of baby fat at her armpits. She's laughing and squealing like a four year-old as another updraft lifts her skirt. Dimpled knees, a dancer's strong legs. This husky healthy girl. The shoulders, arms, breasts belong to a fully mature woman but the face is a girl's face. Shivering in New York City mid-summer as subway steam lifts her skirt like a lover's quickened breath."Oh! Ohhhhh."It's nighttime in Manhattan, Lexington Avenue at 51st Street. Yet the white-white lights exude the heat of midday. The goddess of love has been standing like this, legs apart, in spike-heeled white sandals so steep and so tight they've permanently disfigured her smallest toes, for hours. She's been squealing and laughing, her mouth aches. There's a gathering pool of darkness at the back of her head like tarry water. Her scalp and her pubis burn from the morning's peroxide applications. The Girl with No Name. The glaring-white lights focus upon her, upon her alone, blond squealing, blond laughter, blond Venus, blond insomnia, blond smooth-shaven legs apart and blond hands fluttering in a futile effort to keep her skirt from lifting to reveal white cotton American-girl panties and the shadow, just the shadow, of the bleached crotch."Ohhhhhh."Now she's hugging herself beneath her big bountiful breasts. Her eyelids fluttering. Between the legs, you can trust she's clean. She's not a dirty girl, nothing foreign or exotic. She's an American slash in the flesh. That emptiness. Guaranteed. She's been scooped out, drained clean, no scar tissue to interfere with your pleasure, and no odor. Especially no odor. The Girl with No Name, the girl with no memory. She has not lived long and she will not live long.
I had never before thought of how awful the relationship must be between the musician and his instrument. He has to fill it, this instrument, with the breath of life, his own. He has to make it do what he wants it to do. And a piano is just a piano. It's made out of so much wood and wires and little hammers and big ones, and ivory. While there's only so much you can do with it, the only way to find this out is to try; to try and make it do everything.
The sailors do not mind the arrangement, for they know that this way there will, at the least, be one person who, at the last, will notice when they do not come back from the sea, and will mourn their loss; and their wives content themselves with the certain knowledge that their husbands are also unfaithful, for there is no competing with the sea in a man's affections, since she is both mother and mistress, and she will wash his corpse also, in time to come, wash it to coral and ivory and pearls.
In my craft or sullen art. Exercised in the still night. When only the moon rages. And the lovers lie abed. With all their griefs in their arms, I labour by singing light. Not for ambition or bread. Or the strut and trade of charms. On the ivory stages. But for the common wages. Of their most secret heart. Not for the proud man apart. From the raging moon I write. On these spindrift pages. Nor for the towering dead. With their nightingales and psalms. But for the lovers, their arms. Round the griefs of the ages, Who pay no praise or wages. Nor heed my craft or art.
I'm a riddle in nine syllables, An elephant, a ponderous house, A melon strolling on two tendrils. O red fruit, ivory, fine timbers! This loaf's big with its yeasty rising. Money's new-minted in this fat purse. I'm a means, a stage, a cow in calf. I've eaten a bag of green apples, Boarded the train there's no getting off.
When I was young and had no sense. In far-off Mandalay. I lost my heart to a Burmese girl. As lovely as the day. Her skin was gold, her hair was jet, her teeth were ivory; I said, "For twenty silver pieces, Maiden, sleep with me."She looked at me, so pure, so sad, The loveliest thing alive, And in her lisping, virgin voice, Stood out for twenty-five.
Robin Hood. To a Friend.No! those days are gone away,And their hours are old and gray,And their minutes buried allUnder the down-trodden pallOfthe leaves of many years:Many times have winter's shears,Frozen North, and chilling East,Sounded tempests to the feastOf the forest's whispering fleeces,Since men knew nor rent nor leases. No, the bugle sounds no more,And the twanging bow no more;Silent is the ivory shrillPast the heath and up the hill;There is no mid-forest laugh,Where lone Echo gives the halfTo some wight, amaz'd to hearJesting, deep in forest drear. On the fairest time of JuneYou may go, with sun or moon,Or the seven stars to light you,Or the polar ray to right you;But you never may beholdLittle John, or Robin bold;Never one, of all the clan,Thrumming on an empty canSome old hunting ditty, whileHe doth his green way beguileTo fair hostess Merriment,Down beside the pasture Trent;For he left the merry tale,Messenger for spicy ale. Gone, the merry morris din;Gone, the song of Gamelyn;Gone, the tough-belted outlawIdling in the "grene shawe";All are gone away and past!And if Robin should be castSudden from his turfed grave,And if Marian should haveOnce again her forest days,She would weep, and he would craze:He would swear, for all his oaks,Fall'n beneath the dockyard strokes,Have rotted on the briny seas;She would weep that her wild beesSang not to her---strange! that honeyCan't be got without hard money! So it is; yet let us singHonour to the old bow-string!Honour to the bugle-horn!Honour to the woods unshorn!Honour to the Lincoln green!Honour to the archer keen!Honour to tight little John,And the horse he rode upon!Honour to bold Robin Hood,Sleeping in the underwood!Honour to maid Marian,And to all the Sherwood clan!Though their days have hurried byLet us two a burden try.
Anything approaching the change that came over his features I have never seen before, and hope never to see again. Oh, I wasn't touched. I was fascinated. It was as though a veil had been rent. I saw on that ivory face the expression of sombre pride, of ruthless power, of craven terror--of an intense and hopeless despair. Did he live his life again in every detail of desire, temptation, and surrender during that supreme moment of complete knowledge? He cried in a whisper at some image, at some vision--he cried out twice, a cry that was no more than a breath: The horror! The horror!
THE UNICORN: The saintly hermit, midway through his prayersstopped suddenly, and raised his eyes to witnessthe unbelievable: for there before him stoodthe legendary creature, startling white, thathad approached, soundlessly, pleading with his eyes. The legs, so delicately shaped, balanced abody wrought of finest ivory. And ashe moved, his coat shone like reflected moonlight. High on his forehead rose the magic horn, the signof his uniqueness: a tower held upright by his alert, yet gentle, timid gait. The mouth of softest tints of rose and grey, whenopened slightly, revealed his gleaming teeth, whiter than snow. The nostrils quivered faintly: he sought to quench his thirst, to rest and find repose. His eyes looked far beyond the saint's enclosure, reflecting vistas and events long vanished, and closed the circle of this ancient mystic legend.
Well, I can’t help going to see Sibyl play, even if it is only for an act. I get hungry for her presence; and when I think of the wonderful soul that is hidden away in that little ivory body, I am filled with awe." "You can dine with me to-night, Dorian, can’t you?" He shook his head. "To night she is Imogen," he answered, "and tomorrow night she will be Juliet." "When is she Sibyl Vane?" "Never." "I congratulate you.
My writing, on the other hand, is always done with my readers in mind. I never write for my own amusement. I always try to put across an idea that I feel is important, in the most easily readable form I can manage. This has annoyed some of my academic colleagues, who feel that I am oversimplifying my subject, but I argue that at least my writings are widely read, while theirs stay firmly within the confines of their academic ivory towers. And I always work with one special rule in mind: simplification without distortion. This is, in fact, much harder than the usual self-indulgent academic writing.
Golden head by golden head, Like two pigeons in one nest. Folded in each other's wings, They lay down in their curtained bed: Like two blossoms on one stem, Like two flakes of new-fall'n snow, Like two wands of ivory. Tipped with gold for awful kings. Moon and stars gazed in at them, Wind sang to them lullaby, Lumbering owls forbore to fly, Not a bat flapped to and fro. Round their rest: Cheek to cheek and breast to breast. Locked together in one nest.
The great events of life often leave one unmoved; they pass out of consciousness, and, when thinks of them, become unreal. Even the scarlet flowers of passion seem to grow in the same meadow as the poppies of oblivion. We reject the burden of their memory, and have anodynes against them. But the little things, the things of no moment, remain with us. In some tiny ivory cell the brain stores the most delicate, and the most fleeting impressions.
Ol' man Simon, planted a diamond. Grew hisself a garden the likes of none. Sprouts all growin' comin' up glowin' Fruit of jewels all shinin' in the sun. Colors of the rainbow. See the sun and the rain grow sapphires and rubies on ivory vines, Grapes of jade, just ripenin' in the shade, just ready for the squeezin' into green jade wine. Pure gold corn there, Blowin' in the warm air. Ol' crow nibblin' on the amnythyst seeds. In between the diamonds, Ol' man Simon crawls about pullin' out platinum weeds. Pink pearl berries, all you can carry, put 'em in a bushel and haul 'em into town. Up in the tree there's opal nuts and gold pears- Hurry quick, grab a stick and shake some down. Take a silver tater, emerald tomater, fresh plump coral melons. Hangin' in reach. Ol' man Simon, diggin' in his diamonds, stops and rests and dreams about one... real... peach.
You can't go back home to your family, back home to your childhood, back home to romantic love, back home to a young man's dreams of glory and of fame, back home to exile, to escape to Europe and some foreign land, back home to lyricism, to singing just for singing's sake, back home to aestheticism, to one's youthful idea of 'the artist' and the all-sufficiency of 'art' and 'beauty' and 'love,' back home to the ivory tower, back home to places in the country, to the cottage in Bermude, away from all the strife and conflict of the world, back home to the father you have lost and have been looking for, back home to someone who can help you, save you, ease the burden for you, back home to the old forms and systems of things which once seemed everlasting but which are changing all the time--back home to the escapes of Time and Memory.
His hair, at first glance, appears merely dark, but upon closer inspection is actually many strands of chestnut brown, gold, and black. He wears it long, for a guy, not because doing so is “in,” but because he’s too busy with his many interests to remember to get it cut regularly. His eyes seem dark at first glance, as well, but are actually a kaleidoscope of russets and mahoganies, flecked here and there with ruby and gold, like twin lakes during an Indian summer, into which you feel as if you could dive and swim forever. Nose: aquiline. Mouth: imminently kissable. Neck: aromatic—an intoxicating blend of Tide from his shirt collar, Gillette shaving foam, and Ivory soap, which together spell: my boyfriend. B– Better. I would have liked more description on what exactly about his mouth you find so imminently kissable. —C. Martinez