Tempest Quotes (displaying: 1 - 30 of 64 quotes )
I know a rock in a highland's ravine, On which only eagles might ever be seen, But a black wooden cross o'er a precipice reigns, It rots and it ages from tempests and rains. And many years have gone without any hints, From times when it was seen from faraway hills. And its every arm is raised up to the sky, As if catching clouds or going to fly. Oh, if I were able to rise there and stay, Then how I'd cry there and how I'd pray; And then I would throw off real life's chains. And live as a brother of tempests and rains!
So far as Emma was concerned she did not ask herself whether she was in love. Love, she thought, was something that must come suddenly, with a great display of thunder and lightning, descending on one's life like a tempest from above, turning it topsy-turvy, whirling away one's resolutions like leaves and bearing one onward, heart and soul, towards the abyss. She never bethought herself how on the terrace of a house the rain forms itself into little lakes when the gutters are choked, and she was going on quite unaware of her peril, when all of a sudden she discovered--a crack in the wall!
To blame or praise men on account of the result, is almost like praising or blaming figures on account of the sum total. Whatever is to happen, happens; whatever is to blow, blows. The eternal serenity does not suffer from these north winds. Above Revolutions, Truth and Justice reign, as the starry heavens above the tempest.
Three Words of Strength There are three lessons I would write-Three words, as with a burning pen, In tracings of eternal light, Upon the heart of men. Have hope! though clouds environ round, And gladness hides her face in scorn, Put thou the shadow from thy brow, No night but hath its morn. Have faith! where're thy bark is driven-The calm's disport, the tempest's mirth-Know this: God rules the hosts of heaven, The inhabitants of earth. Have love! not love alone for one, But man as man thy brother call, And scatter like the circling sun, Thy charities on all. Thus grave these lessons on thy soul, Hope, faith, and love; and thou shalt find. Strength when life's surges rudest roll, Light when thou else wert blind.
There was a time in my life when I did a fair bit of work for the tempestuous Lucretia Stewart, then editor of the American Express travel magazine, Departures. Together, we evolved a harmless satire of the slightly driveling style employed by the journalists of tourism. 'Land of Contrasts' was our shorthand for it. ('Jerusalem: an enthralling blend of old and new.' 'South Africa: a harmony in black and white.' 'Belfast, where ancient meets modern.') It was as you can see, no difficult task. I began to notice a few weeks ago that my enemies in the 'peace' movement had decided to borrow from this tattered style book. The mantra, especially in the letters to this newspaper, was: 'Afghanistan, where the world's richest country rains bombs on the world's poorest country.'Poor fools. They should never have tried to beat me at this game. What about, 'Afghanistan, where the world's most open society confronts the world's most closed one'? 'Where American women pilots kill the men who enslave women.' 'Where the world's most indiscriminate bombers are bombed by the world's most accurate ones.' 'Where the largest number of poor people applaud the bombing of their own regime.' I could go on. (I think number four may need a little work.) But there are some suggested contrasts for the 'doves' to paste into their scrapbook. Incidentally, when they look at their scrapbooks they will be able to re-read themselves saying things like, 'The bombing of Kosovo is driving the Serbs into the arms of Milosevic.
The New ColossusNot like the brazen giant of Greek fame, With conquering limbs astride from land to land; Here at our sea-washed, sunset gates shall stand A mighty woman with a torch, whose flame Is the imprisoned lightning, and her name Mother of Exiles. From her beacon-hand Glows world-wide welcome; her mild eyes command The air-bridged harbor that twin cities frame. Keep ancient lands, your storied pomp!" cries she with silent lips. "Give me your tired, your poor, Your huddled masses yearning to breathe free, The wretched refuse of your teeming shore. Send these, the homeless, tempest-tost to me, I lift my lamp beside the golden door!
Nothing any man can do will improve that genius; but the genius needs his mind, and he can broaden that mind, fertilize it with knowledge of all kinds, improve its powers of expression; supply the genius, in short, with an orchestra instead of a tin whistle. All our little great men, our one-poem poets, our one-picture painters, have merely failed to perfect themselves as instruments. The Genius who wrote The Ancient Mariner is no less sublime than he who wrote The Tempest; but Coleridge had some incapacity to catch and express the thoughts of his genius - was ever such wooden stuff as his conscious work? - while Shakespeare had the knack of acquiring the knowledge necessary to the expression of every conceivable harmony, and his technique was sufficiently fluent to transcribe with ease.
All his plans were suddenly overthrown, and the existence, so elaborately pictured, was no more than a dream which would never be realized. He was free once more. Free! He need give up none of his projects, and life still was in his hands for him to do what he liked with. He felt no exhiliration, but only dismay. His heart sank. The future stretched out before him in desolate emptiness. It was as though he had sailed for many years over a great waste of waters, with peril and privation, and at last had come upon a fair haven, but as he was about to enter, some contrary wind had arisen and drove him out again into the open sea; and because he had let his mind dwell on these meads and pleasant woods of the land, the vast deserts of the ocean filled him with anguish. He could not confront again the loneliness and the tempest.
Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove. O no, it is an ever-fixed mark That looks on tempests and is never shaken; It is the star to every wand'ring barque, Whose worth's unknown, although his height be taken. Love's not Time's fool, though rosy lips and cheeks Within his bending sickle's compass come; Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. If this be error and upon me proved, I never writ, nor no man ever loved.
Where is it I've read that someone condemned to death says or think, an hour before his death, that if he had to live on some high rock, on such a narrow ledge that he'd only room to stand, and the ocean, everlasting darkness, everlasting solitude, everlasting tempest around him, if he had to remain standing on a square yard of space all his life, a thousand years, eternity, it were better to live so than to die at once! Only to live, to live and live! Life, whatever it may be!
But ah, but O thou terrible, why wouldst thou rude on me Thy wring-earth right foot rock? lay a lionlimb against me? scan With darksome devouring eyes my bruised bones? and fan, O in turns of tempest, me heaped there; me frantic to avoid thee and flee? Why? That my chaff might fly; my grain lie, sheer and clear.
With favoring winds, o'er sunlit seas, We sailed for the Hesperides, The land where golden apples grow; But that, ah! that was long ago. How far, since then, the ocean streams Have swept us from that land of dreams, That land of fiction and of truth, The lost Atlantis of our youth! Whither, ah, whither? Are not these The tempest-haunted Orcades, Where sea-gulls scream, and breakers roar, And wreck and sea-weed line the shore? Ultima Thule! Utmost Isle! Here in thy harbors for a while We lower our sails; a while we rest From the unending, endless quest.
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.
Her antiquity in preceding and surviving succeeding tellurian generations: her nocturnal predominance: her satellitic dependence: her luminary reflection: her constancy under all her phases, rising and setting by her appointed times, waxing and waning: the forced invariability of her aspect: her indeterminate response to inaffirmative interrogation: her potency over effluent and refluent waters: her power to enamour, to mortify, to invest with beauty, to render insane, to incite to and aid delinquency: the tranquil inscrutability of her visage: the terribility of her isolated dominant resplendent propinquity: her omens of tempest and of calm: the stimulation of her light, her motion and her presence: the admonition of her craters, her arid seas, her silence: her splendour, when visible: her attraction, when invisible.
When winds are raging o'er the upper ocean,And billows wild contend with angry roar,'Tis said, far down beneath the wild commotion,That peaceful stillness reigneth evermore.Far, far beneath, the noise of tempest dieth,And silver waves chime ever peacefully,And no rude storm, how fierce soe'er it flieth,Disturbs the Sabbath of that deeper sea.So to the heart that knows Thy love, O Purest,There is a temple sacred evermore,And all the babble of life's angry voicesDies in hushed silence at its peaceful door.Far, far away, the roar of passion dieth,And loving thoughts rise calm and peacefully,And no rude storm, how fierce soe'er it flieth,Disturbs the soul that dwells, O Lord, in Thee.
I was dancing with an immortal august woman, who had black lilies in her hair, and her dreamy gesture seemed laden with a wisdom more profound than the darkness that is between star and star, and with a love like the love that breathed upon the waters; and as we danced on and on, the incense drifted over us and round us, covering us away as in the heart of the world, and ages seemed to pass, and tempests to awake and perish in the folds of our robes and in her heavy hair. Suddenly I remembered that her eyelids had never quivered, and that her lilies had not dropped a black petal, or shaken from their places, and understood with a great horror that I danced with one who was more or less than human, and who was drinking up my soul as an ox drinks up a wayside pool; and I fell, and darkness passed over me.
The poet must always, in every instance, have the vibrant word... that by it's trenchancy can so wound my soul that it whimpers.... One must know and recognize not merely the direct but the secret power of the word; one must be able to give one's writing unexpected effects. It must have a hectic, anguished vehemence, so that it rushes past like a gust of air, and it must have a latent, roistering tenderness so that it creeps and steals one's mind; it must be able to ring out like a sea-shanty in a tremendous hour, in the time of the tempest, and it must be able to sigh like one who, in tearful mood, sobs in his inmost heart. There are overtones and undertones in words, and there are lateral tones.