Arch Quotes (displaying: 1 - 30 of 107 quotes )
But his kind will always lose in the end. I know this, and now I know why. Whether it's wife or nation they occupy, their mistake is the same: they stand still, and their stake moves underneath them.... Chains rattle, rivers roll, animals startle and bolt, forests inspire and expand, babies stretch open-mouthed from the womb, new seedlings arch their necks and creep forward into the light. Even a language won't stand still. A territory is only possessed for a moment in time. They stake everything on that moment, posing for photographs while planting the flag, casting themselves in bronze.... Even before the flagpole begins to peel and splinter, the ground underneath arches and slides forward into its own new destiny. It may bear the marks of boots on its back, but those marks become the possessions of the land.
There must be some other possibility than death or lifelong penance ... some meeting, some intersection of lines; and some cowardly, hopeful geometer in my brain tells me it is the angle at which two lines prop each other up, the leaning-together from the vertical which produces the false arch. For lack of a keystone, the false arch may be as much as one can expect in this life. Only the very lucky discover the keystone.
My own terror of appearing sentimental is so strong that I’ve decided to fight against it, some; but the terror is still there. . . . Do you identify with a distaste/fear about sentimentality? Do you agree that, past a certain line, such distaste can turn everything arch and sneering and too ironic? Or do you have your own set of abstract questions to drive yourself nuts with?
To him it seemed a miracle that we should last so much as a single day. There is no antidote, he writes, against the opium of time. The winter sun shows how soon the light fades from the ash, how soon night enfolds us. Hour upon hour is added to the sum. Time itself grows old. Pyramids, arches and obelisks are melting pillars of snow. Not even those who have found a place amidst the heavenly constellations have perpetuated their names: Nimrod is lost in Orion, and Osiris in the Dog Star. Indeed, old families last not three oaks. To set one’s name to a work gives no one a title to be remembered, for who knows how many of the best of men have gone without a trace? The iniquity of oblivion blindly scatters her poppyseed and when wretchedness falls upon us one summer’s day like snow, all we wish for is to be forgotten.
Please bring strange things. Please come bringing new things. Let very old things come into your hands. Let what you do not know come into your eyes. Let desert sand harden your feet. Let the arch of your feet be the mountains. Let the paths of your fingertips be your maps. And the ways you go be the lines of your palms. Let there be deep snow in your inbreathing. And your outbreath be the shining of ice. May your mouth contain the shapes of strange words. May you smell food cooking you have not eaten. May the spring of a foreign river be your navel. May your soul be at home where there are no houses. Walk carefully, well-loved one, Walk mindfully, well-loved one, Walk fearlessly, well-loved one. Return with us, return to us, Be always coming home.---Ursula K. Leguin
Who built Thebes of the seven gates? In the books you will find the name of kings. Did the kings haul up the lumps of rock? And Babylon, many times demolished. Who raised it up so many times? In what houses Of gold-glittering Lima did the builders live? Where, the evening that the Wall of China was finished Did the masons go? Great Rome Is full of triumphal arches. Who erected them? Over whom Did the Caesars triumph? Had Byzantium, much praised in song, Only palaces for its inhabitants? Even in fabled Atlantis The night the ocean engulfed it The drowning still bawled for their slaves.
My vantage point must have been somewhere between our little house and the steamer jetty. The sea was exceptionally calm. Lit up by a sun that you could have taken down and put in your knapsack. Everything: Mooring rings on the harbor wall, piles of timber, the arches of the houses, caiques, windows? all of them were faithful, in the way we describe a dog being faithful.
The Plot Against The Giant. First Girl. When this yokel comes maundering, Whetting his hacker, I shall run before him, Diffusing the civilest odors. Out of geraniums and unsmelled flowers. It will check him. Second Girl. I shall run before him, Arching cloths besprinkled with colors. As small as fish-eggs. The threads. Will abash him. Third Girl. Oh, la... le pauvre! I shall run before him, With a curious puffing. He will bend his ear then. I shall whisper. Heavenly labials in a world of gutturals. It will undo him.
The next morning he boarded the train for the six-hour journey south that would bring him to the strange gothic spires and arches of St. Pancras Station. His mother gave him a small walnut cake that she had made for the journey and a thermos filled with tea; and Richard Mayhew went to London feeling like hell.
Next, Please. Always too eager for the future, we. Pick up bad habits of expectancy. Something is always approaching; every day. Till then we say, Watching from a bluff the tiny, clear. Sparkling armada of promises draw near. How slow they are! And how much time they waste, Refusing to make haste! Yet still they leave us holding wretched stalks. Of disappointment, for, though nothing balks. Each big approach, leaning with brasswork prinked, Each rope distinct, Flagged, and the figurehead with golden tits. Arching our way, it never anchors; it's. No sooner present than it turns to past. Right to the last. We think each one will heave to and unload. All good into our lives, all we are owed. For waiting so devoutly and so long. But we are wrong: Only one ship is seeking us, a black-Sailed unfamiliar, towing at her back. A huge and birdless silence. In her wake. No waters breed or break.
Francie looked at her legs. They were long, slender, and exquisitely molded. She wore the sheerest of flawless silk stockings, and expensively made high-heeled pumps shod her beautifully arched feet. "Beautiful legs, then, is the secret of being a mistriss," concluded Francie. She looked down at her own long thin legs. "I'll never make it, I guess." Sighing , she resigned herself to a sinless life.
I settled into a contented routine of working, spending my free time with Veronica and, back in my student room, wanking explosively to fantasies of her splayed beneath me or arched above me. Daily intimacy made me proud of knowing about make-up, clothes policy, the feminine razor, and the mystery and consequences of a woman’s periods. I found myself envying this regular reminder of something so wholly female and defining, so connected to the great cycle of nature.
Toward early morning he woke, sat up quickly and looked about him. It was still dark and the fire had long since died, still dark and quiet with that silence that seems to be of itself listening, an astral quiet where planets collide soundlessly, beyond the auricular dimension altogether. He listened. Above the black ranks of trees the mid-summer sky arched cloudless and coldly starred. He lay back and stared at it and after a while he slept.
For my nymphet I needed a diminutive with a lyrical lilt to it. One of the most limpid and luminous letters is "L". The suffix "-ita" has a lot of Latin tenderness, and this I required too. Hence: Lolita. However, it should not be pronounced as you and most Americans pronounce it: Low-lee-ta, with a heavy, clammy "L" and a long "o". No, the first syllable should be as in "lollipop", the "L" liquid and delicate, the "lee" not too sharp. Spaniards and Italians pronounce it, of course, with exactly the necessary note of archness and caress. Another consideration was the welcome murmur of its source name, the fountain name: those roses and tears in "Dolores." My little girl's heartrending fate had to be taken into account together with the cuteness and limpidity. Dolores also provided her with another, plainer, more familiar and infantile diminutive: Dolly, which went nicely with the surname "Haze," where Irish mists blend with a German bunny—I mean, a small German hare.
The Atlantic is a stormy moat, and the Mediterranean, The blue pool in the old garden, More than five thousand years has drunk sacrifice. Of ships and blood and shines in the sun; but here the Pacific: The ships, planes, wars are perfectly irrelevant. Neither our present blood-feud with the brave dwarfs. Nor any future world-quarrel of westering. And eastering man, the bloody migrations, greed of power, battle-falcons, Are a mote of dust in the great scale-pan. Here from this mountain shore, headland beyond stormy headland plunging like dolphins through the grey sea-smoke. Into pale sea, look west at the hill of water: it is half the planet: this dome, this half-globe, this bulging. Eyeball of water, arched over to Asia, Australia and white Antarctica: those are the eyelids that never close; this is the staring unsleeping. Eye of the earth, and what it watches is not our wars.
How very lovable her face was to him. Yet there was nothing ethereal about it; all was real vitality, real warmth, real incarnation. And it was in her mouth that this culminated. Eyes almost as deep and speaking he had seen before, and cheeks perhaps as fair; brows as arched, a chin and throat almost as shapely; her mouth he had seen nothing to equal on the face of the earth. To a young man with the least fire in him that little upward lift in the middle of her red top lip was distracting, infatuating, maddening. He had never before seen a woman’s lips and teeth which forced upon his mind with such persistent iteration the old Elizabethan simile of roses filled with snow. Perfect, he, as a lover, might have called them off-hand. But no — they were not perfect. And it was the touch of the imperfect upon the would-be perfect that gave the sweetness, because it was that which gave the humanity.
There was a deliberate voluptuousness that was both thrilling and repulsive. And as she arched her neck she actually licked her lips like an animal till I could see in the moonlight the moisture Then lapped the white, sharp teeth. Lower and lower went her head. I closed my eyes in a languorous ecstasy and waited.
Selden and Lily stood still, accepting the unreality of the scene as a part of their own dream-like sensations. It would not have surprised them to feel a summer breeze on their faces, or to see the lights among the boughs reduplicated in the arch of a starry sky. The strange solitude about them was no stranger than the sweetness of being alone in it together.
Elizabeth, having rather expected to affront him, was amazed at his gallantry; but there was a mixture of sweetness and archness in her manner which made it difficult for her to affront anybody; and Darcy had never been so bewitched by any woman as he was by her. He really believed, that were it not for the inferiority of her connections, he should be in some danger.
He nuzzled her loosened vest off her shoulder and whispered in her ear. “One day soon, when you’re ready, I’m going to mount you like this. I’m going to ride you while you arch your neck for me. I’m going to mark you with my teeth. Fuck you. Mate with you. Then you’ll be mine, Vashti. Irrevocably. Every luscious, stubborn, dangerous inch of you. Mine.
I had started out as an outright 'debunker,' taking great joy in cracking what seemed at first to be puzzling cases. I was the arch enemy of those 'flying saucer groups and enthusiasts' who very dearly wanted UFOs to be interplanetary. My own knowledge of those groups came almost entirely from what I heard from Blue Book personnel: they were all 'crackpots and visionaries.' My transformation was gradual but by the late sixties it was complete. Today I would not spend one further moment on the subject of UFOs if I didn't seriously feel that the UFO phenomenon is real and that efforts to investigate and understand it, and eventually to solve it, could have a profound effect -- perhaps even be the springboard to mankind's outlook on the universe.
I used to have a cat, an old fighting tom, who would jump through the open window by my bed in the middle of the night and land on my chest. I'd half-awaken. He'd stick his skull under my nose and purr, stinking of urine and blood. Some nights he kneaded my bare chest with his front paws, powerfully, arching his back, as if sharpening his claws, or pummeling a mother for milk. And some mornings I'd wake in daylight to find my body covered with paw prints in blood; I looked as though I'd been painted with roses.