For myself I say deliberately, it is better to have a millstone tied round the neck and be thrown into the sea than to share the enterprises of those to whom the world has turned, and will turn, because they minister to its weaknesses and cover up the awful realities which it shudders to look at.
Moths, " repeats Will. "You're afraid of moths?" "Not just a cloud of moths, " she says, "like... a swarm of them. Everywhere. All those wings and legs and... " She shudders and shakes her head. "Terrifying, " Will says with mock seriousness. "That's my girl. Tough as cotton balls." "Oh, Shut up.
He found it so easy and so pleasant to cry that he didn't try to stop for a while, until he realized he was forcing his sobs a little, exaggerating their depth with unnecessary shudders... The whole point of crying is to quit before you coined it up. The whole point of grief itself was to cut it out while it was still honest, while it still meant something. Because the thing was so easily corrupted
He found it so easy and so pleasant to cry that he didn't try to stop for a while, until he realized he was forcing his sobs a little, exaggerating their depth with unnecessary shudders. ... The whole point of crying is to quit before you coined it up. The whole point of grief itself was to cut it out while it was still honest, while it still meant something. Because the thing was so easily corrupted
Distrust even Mathematics; albeit so sublime and highly perfected, we have here a machine of such delicacy it can only work in vacuo, and one grain of sand in the wheels is enough to put everything out of gear. One shudders to think to what disaster such a grain of sand may bring a Mathematical brain. Remember Pascal.
Many a woman shudders ... at the terrible eclipse of those intellectual powers which in early life seemed prophetic of usefulness and happiness, hence the army of martyrs among our married and unmarried women who, not having cultivated a taste for science, art or literature, form a corps of nervous patients who make fortunes for agreeable physicians.
Sarah Moore Grimke
I do not have easy days at home now and I drift between fear and helplessness in sunny rooms where it is unspeakably cold. Strange shudders of transformation, bodily experienced to the point of vulnerability, visions of mysteries until the certainty of having died, ecstasies to the point of stony petrifaction, and a continuation of dreaming sad dreams.
Our earth is like a child who has grown up without parents, having no one to guide her... Some have attempted to help her but most have simply tried to use her. Humans, who have been given the task to lovingly steer the world, instead plunder her with no consideration, other than their immediate needs. And they give little thought for their own children who will inherit their lack of love. So they use her and abuse her with little consideration and then when she shudders of blows her breath. They are offended and raise their fist at God.
William P. Young
How is it?" I ask as we stroll towards the dressing rooms. "Working at the playground. That must be fun." "Sure, they're just adorable, " she says, "For the first five minutes. And then I want to wring their adorable little necks." I stop, shocked. "I always figured you loved kids." "Yeah, no." Kayla shakes her head emphatically. "One kid, I can do, even two- just stick them in front of a Disney movie, let them play Xbox all night. But a herd of them?" She shudders.
Especially when the October wind With frosty fingers punishes my hair, Caught by the crabbing sun I walk on fire And cast a shadow crab upon the land, By the sea's side, hearing the noise of birds, Hearing the raven cough in winter sticks, My busy heart who shudders as she talks Sheds the syllabic blood and drains her words.
A Robin Redbreast in a Cage Puts all Heaven in a Rage. A dove house fill'd with doves and pigeons Shudders Hell thro' all its regions. A Dog starv'd at his Master's Gate Predicts the ruin of the State. A Horse misus'd upon the Road Calls to Heaven for Human blood. Each outcry of the hunted Hare A fiber from the Brain does tear.
One must shed the bad taste of wanting to agree with many. "Good" is no longer good when one's neighbor mouths it. And how should there be a "common good"! The term contradicts itself: whatever can be common always has little value. In the end it must be as it is and always has been: great things remain for the great, abysses for the profound, nuances and shudders for the refined, and, in brief, all that is rare for the rare.
Now the autumn shudders In the rose's root. Far and wide the ladders Lean among the fruit. Now the autumn clambers Up the trellised frame, And the rose remembers The dust from which it came. Brighter than the blossom On the rose's bough Sits the wizened orange, Bitter berry now; Beauty never slumbers; All is in her name; But the rose remembers The dust from which it came.
Edna St. Vincent Millay
Consider love: is there a nobler outpouring, a rapture less suspect? Its shudders rival music, compete with the tears of solitude and of ecstasy: sublime...but a sublimity inseperable from the urinary tract: transports bordering upon excretion, a heaven of the glands, sudden sancitity of the orifices. It takes no more than a moment of attention for this intoxication, shaken, to cast you back into the ordures of physiology or a moment of fatigue to recognize that so much ardor produces only a variety of mucous.
Emile M. Cioran
The universe shudders in horror that we have this infinitely valuable, infinitely deep, infinitely rich, infinitely wise, infinitely loving God, and instead of pursuing him with steadfast passion and enthralled fury "" instead of loving him with all our heart, soul, mind, and strength; instead of attributing to him glory and honor and praise and power and wisdom and strength "" we just try to take his toys and run. It is still idolatry to want God for his benefits but not for himself.
Dawn's faint breath breathes with your mouth at the ends of empty streets. Gray light your eyes, sweet drops of dawn on dark hills. Your steps and breath like the wind of dawn smother houses. The city shudders, Stones exhale"" you are life, an awakening. Star lost in the light of dawn, trill of the breeze, warmth, breath"" the night is done. You are light and morning.
All those years of lurid magazine covers showing extremely nubile females being menaced in three distinct colors by assorted monstrosities; those horror movies, those invasion-from-outer-space novels, those Sunday supplement fright splashes-all those sturdy psychological ruts I had to re-track. Not to mention the shudders elicited by mention of 'worms, ' the regulation distrust of even human "furriners, ' the superstitious dread of creatures who had no visible place to park a soul. ("Betelgeuse Bridge)
The discipline of suffering, of great suffering- do you not know that only this discipline has created all enhancements of man so far? That tension of the soul in unhappiness which cultivates its strength, its shudders face to face with great ruin, its inventiveness and courage in enduring, preserving, interpreting, and exploiting suffering, and whatever has been granted to it of profundity, secret, mask, spirit, cunning, greatness- was it not granted to it through suffering, through the discipline of great suffering?
Now yes, yes, creation sometimes screams a confusing message-fear, pain, grief. Fire burns, rivers flood, winds go hurricane, the earth shudders so hard it levels cities. But you must remember-this was not so in Eden. Mankind fell, surrendering this earth to the evil one. St. Paul says that creation groans for the day of its restoration (see Rom. 8:18-22), making it clear that everything is not as it was meant to be. People come to terrible conclusions when they assume this world is exactly as God intended. (An assumption that has wrought havoc in the sciences.) The earth is broken. Which only makes the beauty that does flow so generously that much more astounding. And reassuring.
Shawshank's good, ' he says. 'But you can't beat the way Woody Harrelson kills zombies. He takes such joy in it.' 'Uh-huh, ' I say, making a face. 'I've always found zombies to be the least threatening of the scary monsters. I mean, come on. They're slow. They're brain-dead. They don't plot evil or try to take over the world. They just-' I put my arms out in front of me and give him my best zombie groan. I shake my head. 'So not scary.' 'But they just. Keep. Coming, ' Christian says. 'You can run, you can kill them, but more of them always pop up, and they never stop.' He shudders. 'And they try to eat you, and if you get bitten, that's it-you're infected. You're doomed to become a zombie yourself. End of story.' 'Okay, ' I concede, 'they're kind of scary, ' and now I'm vaguely disappointed that we're not here to watch a zombie movie.
The terror of being judged sharpens the memory: it sends an inevitable glare over that long-unvisited past which has been habitually recalled only in general phrases. Even without memory, the life is bound into one by a zone of dependence in growth and decay; but intense memory forces a man to own his blameworthy past. With memory set smarting like a reopened wound, a man's past is not simply a dead history, an outworn preparation of the present: it is not a repented error shaken loose from the life: it is a still quivering part of himself, bringing shudders and bitter flavors and the tinglings of a merited shame.
No one is adequate to comprehending the misery of my lot! Fate obliges me to be constantly in movement: I am not permitted to pass more than a fortnight in the same place. I have no Friend in the world, and from the restlessness of my destiny I never can acquire one. Fain would I lay down my miserable life, for I envy those who enjoy the quiet of the Grave: But Death eludes me, and flies from my embrace. In vain do I throw myself in the way of danger. I plunge into the Ocean; The Waves throw me back with abhorrence upon the shore: I rush into fire; The flames recoil at my approach: I oppose myself to the fury of Banditti; Their swords become blunted, and break against my breast: The hungry Tiger shudders at my approach, and the Alligator flies from a Monster more horrible than itself. God has set his seal upon me, and all his Creatures respect this fatal mark!
Matthew Gregory Lewis
See the exquisite contrast of the types of mind! The pragmatist clings to facts and concreteness, observes truth at its work in particular cases, and generalises. Truth, for him, becomes a class-name for all sorts of definite working-values in experience. For the rationalist it remains a pure abstraction, to the bare name of which we must defer. When the pragmatist undertakes to show in detail just why we must defer, the rationalist is unable to recognise the concretes from which his own abstraction is taken. He accuses us of denying truth; whereas we have only sought to trace exactly why people follow it and always ought to follow it. Your typical ultra-abstractions fairly shudders at concreteness: other things equal, he positively prefers the pale and spectral. If the two universes were offered, he would always choose the skinny outline rather than the rich thicket of reality. It is so much purer, clearer, nobler.
This time Simone did not smile at all. "I cannot tell that to you, child. This is a secret I am not allowed to talk about. I only hope that you will know how to follow the true and right path. And now, farewell!" She turned around and walked away between the bookshelves, disappearing from their sight. Nirupa looked at the book she held in her hand. On its thick front cover she read: "Atlantis." Deep shudders shook her body. She turned her head and looked at Miss Bell, who also looked numb with fear. "Now that we have started the adventure, me must carry it through to the end, " Ni whispered to Miss Bell, opening the book. She did not have time to see what was written inside because, once the first page was open, a whirl of warm air sucked Ni and Miss. Bell inside, In the twinkle of an eye they found themselves standing up on the main street of a magnificent bazaar.
Leora Cika Waldman
And one cried wee, wee, wee, all the way-" Jessica breaking down in a giggle as he reaches for the spot along her sweatered flank he knows she can't bear to be tickled in. She hunches, squirming, out of the way as he rolls past, bouncing off the back of the sofa but making a nice recovery, and by now she's ticklish all over, he can grab an ankle, elbow- But a rocket has suddenly struck. A terrific blast quite close beyond the village: the entire fabric of the air, the time, is changed-the casement window blown inward, rebounding with a wood squeak to slam again as all the house still shudders. Their hearts pound. Eardrums brushed taut by the overpressure ring in pain. The invisible train rushes away close over the rooftop... They sit still as the painted dogs now, silent, oddly unable to touch. Death has come in the pantry door: stands watching them, iron and patient, with a look that says try to tickle me.
Abandoned. The word alone sends shudders down a sensitive spine, troubling the thoughts of pained souls as their hurt swells in ripples. It is a sentence of undesired solitude often pronounced on the innocent, the trusting-administered without warning or satisfactory cause. One day the moon is yours, or so you believe. The next, his countenance transforms from Jekyll to Hyde with no intention of ever turning back, and you are left trampled upon in a deserted street, concealed by dirty fog that squelches all illumination or any hope for future rays of light. It is the worst of mysteries why a beast considered noble would forsake his duty, exhibiting a heart of stone. And all who once looked on him, now turn down their eyes and suffer, beguiled. Some poisons have no antidote, but are slow, silent, torturous ends that curl up the broken body swept into a cold, dark corner. There she is left to drown in her tears-a dying heart. Abandoned.
Richelle E. Goodrich
The glove comes off, flops loosely over, and there's suddenly horror beating into his brain, smashing, pounding, battering. He reels a little in his chair, has to hold onto the edge of the table with both hands, at the impact of it. A clawlike thing - two of the finger extremities already bare of flesh as far as the second joint; two more with only shriveled, bloodless, rotting remnants of it adhering, only the thumb intact, and that already unhealthy-looking, flabby. A dead hand - the hand of a skeleton - on a still-living body. A body he was dancing with only a few minutes ago. A rank odor, a smell of decay, of the grave and of the tomb, hovers about the two of them now. A woman points from the next table, screams. She's seen it, too. She hides her face, cowers against her companion's shoulder, shudders. Then he sees it too. His collar's suddenly too tight for him. Others see it, one by one. A wave of impalpable horror spreads centrifugally from that thing lying there in the blazing electric light on O'Shaughnessy's table. The skeleton at the feast! ("Jane Brown's Body")
I sense that the thing I am seeking is higher than love and higher than the joy of life and higher than science and glory and higher even than starts. Don't keep my wings tied in Your embrace. You are only a shadow and only a smile in the great journey of my soul. Your eyes are the two clear springs where my thoughts came to drink and rest for a moment. And between Your breasts hides the soft pillow where I slept for a moment in order to waken again. Don't hold me bound. The enigma is not hidden in Your Lions nor in Your enormous eyes. And Your arms are small and weak and do not embrace my entire soul. There is a magnet above the stars that pulls me. And my entire body shudders, magnetized by the Great Nostalgia and the Great Longing. Someone is pulling at me from the stars. Do not hold me bound. The thing I am seeking is higher than love and higher than the joy of life.
Say you could view a time lapse film of our planet: what would you see? Transparent images moving through light, 'an infinite storm of beauty.' The beginning is swaddled in mists, blasted by random blinding flashes. Lava pours and cools; seas boil and flood. Clouds materialize and shift; now you can see the earth's face through only random patches of clarity. The land shudders and splits, like pack ice rent by widening lead. Mountains burst up, jutting, and dull and soften before your eyes, clothed in forests like felt. The ice rolls up, grinding green land under water forever; the ice rolls back. Forests erupt and disappear like fairy rings. The ice rolls up- mountains are mowed into lakes, land rises wet from the sea like a surfacing whale- the ice rolls back. A blue-green streaks the highest ridges, a yellow-green spreads from the south like a wave up a strand. A red dye seems to leak from the north down the ridges and into the valleys, seeping south; a white follows the red, then yellow-green washes north, then red spreads again, then white, over and over, making patterns of color too intricate to follow. Slow the film. You see dust storms, locusts, floods, in dizzying flash-frames. Zero in on a well-watered shore and see smoke from fires drifting. Stone cities rise, spread, and crumble, like paths of alpine blossoms that flourish for a day an inch above the permafrost, that iced earth no root can suck, and wither in a hour. New cities appear, and rivers sift silt onto their rooftops; more cities emerge and spread in lobes like lichen on rock. The great human figures of history, those intricate, spirited tissues whose split second in the light was too brief an exposure to yield any image but the hunched shadowless figures of ghosts. Slow it down more, come closer still. A dot appears, a flesh-flake. It swells like a balloon; it moves, circles, slows, and vanishes. This is your life.
Say you could view a time-lapse film of our planet: what would you see? Transparent images moving through light, 'an infinite storm of beauty.' The beginning is swaddled in mists, blasted by random blinding flashes. Lava pours and cools; seas boil and flood. Clouds materialize and shift; now you can see the earth's face through only random patches of clarity. The land shudders and splits, like pack ice rent by a widening lead. Mountains burst up, jutting and dull and soften before your eyes, clothed in forests like felt. The ice rolls up, grinding green land under water forever; the ice rolls back. Forests erupt and disappear like fairy rings. The ice rolls up-mountains are mowed into lakes, land rises wet from the sea like a surfacing whale- the ice rolls back. A blue-green streaks the highest ridges, a yellow-green spreads from the south like a wave up a strand. A red dye seems to leak from the north down the ridges and into the valleys, seeping south; a white follows the red, then yellow-green washes north, then red spreads again, then white, over and over, making patterns of color too swift and intricate to follow. Slow the film. You see dust storms, locusts, floods, in dizzying flash frames. Zero in on a well-watered shore and see smoke from fires drifting. Stone cities rise, spread, and then crumble, like patches of alpine blossoms that flourish for a day an inch above the permafrost, that iced earth no root can suck, and wither in a hour. New cities appear, and rivers sift silt onto their rooftops; more cities emerge and spread in lobes like lichen on rock. The great human figures of history, those intricate, spirited tissues that roamed the earth's surface, are a wavering blur whose split second in the light was too brief an exposure to yield any images. The great herds of caribou pour into the valleys and trickle back, and pour, a brown fluid. Slow it down more, come closer still. A dot appears, like a flesh-flake. It swells like a balloon; it moves, circles, slows, and vanishes. This is your life.