Autumn Foliage Quotes

Are ye the ghosts of fallen leaves, O flakes of snow, For which, through naked trees, the winds A-mourning go?

the fallen leaves in the forest seemed to make even the ground glow and burn with light

Wind warns November’s done with. The blown leaves make bat-shapes, Web-winged and furious.

As artist Nature splashes color across the vast canvas of the sky with the radiance and splendor of sunrise and sunset. She arches rainbows against the passing storm, creates flowers and foliage, sets autumn woods on fire with the beauty of turning leaves and touches mountaintops with snow crystals.

I felt and saw the night outside deep within me. Wind and wetness, autumn, bitter smell of foliage, scattered leaves of the elm tree.

The tree-lined streets formed golden archways of autumnal colour, and whatever foliage had already fallen formed a russet carpet that came alive and danced around our wheels as we drove over it.

THERE are so many things which are impossible to explain! Why should certain chords in music make me think of the brown and golden tints of autumn foliage? Why should the Mass of Sainte-Cécile send my thoughts wandering among caverns whose walls blaze with ragged masses of virgin silver? What was it in the roar and turmoil of Broadway at six o'clock that flashed before my eyes the picture of a still Breton forest where sunlight filtered through spring foliage, and Sylvia bent, half curiously, half tenderly, over a small, green lizard, murmuring, "To think that this also is a little ward of God?

If we hadn’t our bewitching autumn foliage, we should still have to credit the weather with one feature which compensates for all its bullying vagaries-the ice storm: when a leafless tree is clothed with ice from the bottom to the top – ice that is as bright and clear as crystal; when every bough and twig is strung with ice-beads, frozen dew-drops, and the whole tree sparkles cold and white, like the Shah of Persia’s diamond plume. Then the wind waves the branches and the sun comes out and turns all those myriads of beads and drops to prisms that glow and burn and flash with all manner of colored fires, which change and change again with inconceivable rapidity from blue to red, from red to green, and green to gold-the tree becomes a spraying fountain, a very explosion of dazzling jewels; and it stands there the acme, the climax, the supremest possibility in art or nature, of bewildering, intoxicating, intolerable magnificence. One cannot make the words too strong.

She was practically an invalid ever after I could remember her, but used what strength she had in lavish care upon me and my sister, who was three years younger. There was a touch of mysticism and poetry in her nature which made her love to gaze at the purple sunsets and watch the evening stars. Whatever was grand and beautiful in form and color attracted her. It seemed as though the rich green tints of the foliage and the blossoms of the flowers came for her in the springtime, and in the autumn it was for her that the mountain sides were struck with crimson and with gold.

In the foliage A kind token from a bird Feather in Fall’s grass

Why should certain chords in music make me think of the brown and golden tints of autumn foliage?

The torchlit garden was redolent with the colors and scents of autumn... gold and copper foliage, thick borders of roses and dahlias, flowering grasses and beds of fresh mulch that made the air pleasantly pungent.

and pause to record the width of sullen in this empty night how autumn needs dark to layer thick blankets of foliage

We should wait six-seven months. Maybe, upon spring's arrival, our love would blossom. As of now, dry-lifeless-forlorn, it resembles the fall foliage. Beautiful, nonetheless! #BeyondAutumn

he saw neither teacher nor students, and was aware only of the heavenly light in the room, an orange glow from the autumnal foliage outside. the room seemed full of a sweet viscous liquid, a honey nearly light as air, which he breathed in.

He was a very tall, very thin creature that could only be described as a wood elf. His long, ponytailed hair was every color of autumn leaves; his skin was the hue of fresh-cut pine boards; and his eyes were the vibrant color of fresh spring foliage. He also wore blue jeans and brown loafers and a ragged t-shirt that read, "Choose your Weapon!" under which sat a line of Dungeons and Dragons dice of various shapes and denominations. Kay could barely believe it. For one, where did he get that shirt? These Otherworld people LIVED Dungeons and Dragons--they played it too? For a second Kay thought she might be looking at the most ironic t-shirt and t-shirt wearer combination ever.

It is possible to think of fragrance existing before a flower was created to contain it, and so it is that God created the world to reveal Himself, to reveal Mercy. Once or twice a year, perhaps three times, a woman visits the garden, her face ancient, the eyes calm but not passive as she approaches the rosewood tree and begins to pick and examine each fallen leaf. Whether she is in possession of her full mental faculties, no one is sure. Perhaps she is sane and just pretending madness for self-protection. Many decades ago - long before the house was built, when this place was just an expanse of wild growth - she had discovered the name of God on a rosewood leaf, the green veins curving into sacred calligraphy. She picks each small leaf now, hoping for a repetition of the miracle, holding it in her palms in a gesture identical to prayer. The life of the house continues around her and occasionally she watches them, following the most ordinary human acts with an attention reserved by others for much greater events. If it is autumn, she has to remain in the garden for hours, following the surge and pull of the wind as it takes the dropped foliage to all corners. Afterwards, as the dusk begins to darken the air, they sit together, she and the tree, until only the tree remains. What need her search fulfils in her is not known. Perhaps healing had existed before wounds and bodies were created to be its recipient.

Through the open window-leaf, Emma watched glimmering stars in the black sky. The cooling breeze had been invading with scents of autumn to the bedroom. Suddenly, the squeaking sighing behind the waving linen curtain splashed the silence. Trembling like foliage in the wind, Emily approached it closer, going to check out the source of the sounds. Somebody was there! Emma heard every beat of her own heart, as it seemed to knock that loudly, like trying to jump out.

Ode to the West Wind I O wild West Wind, thou breath of Autumn’s being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes: O thou, Who chariotest to their dark wintry bed The winged seeds, where they lie cold and low, Each like a corpse within its grave, until Thine azure sister of the Spring shall blow Her clarion o’er the dreaming earth, and fill (Driving sweet buds like flocks to feed in air) With living hues and odours plain and hill: Wild Spirit, which art moving everywhere; Destroyer and preserver; hear, oh hear! II Thou on whose stream, mid the steep sky’s commotion, Loose clouds like earth’s decaying leaves are shed, Shook from the tangled boughs of Heaven and Ocean, Angels of rain and lightning: there are spread On the blue surface of thine aëry surge, Like the bright hair uplifted from the head Of some fierce Maenad, even from the dim verge Of the horizon to the zenith’s height, The locks of the approaching storm. Thou dirge Of the dying year, to which this closing night Will be the dome of a vast sepulchre, Vaulted with all thy congregated might Of vapours, from whose solid atmosphere Black rain, and fire, and hail will burst: oh hear! III Thou who didst waken from his summer dreams The blue Mediterranean, where he lay, Lull’d by the coil of his crystàlline streams, Beside a pumice isle in Baiae’s bay, And saw in sleep old palaces and towers Quivering within the wave’s intenser day, All overgrown with azure moss and flowers So sweet, the sense faints picturing them! Thou For whose path the Atlantic’s level powers Cleave themselves into chasms, while far below The sea-blooms and the oozy woods which wear The sapless foliage of the ocean, know Thy voice, and suddenly grow gray with fear, And tremble and despoil themselves: oh hear! IV If I were a dead leaf thou mightest bear; If I were a swift cloud to fly with thee; A wave to pant beneath thy power, and share The impulse of thy strength, only less free Than thou, O uncontrollable! If even I were as in my boyhood, and could be The comrade of thy wanderings over Heaven, As then, when to outstrip thy skiey speed Scarce seem’d a vision; I would ne’er have striven As thus with thee in prayer in my sore need. Oh, lift me as a wave, a leaf, a cloud! I fall upon the thorns of life! I bleed! A heavy weight of hours has chain’d and bow’d One too like thee: tameless, and swift, and proud. V Make me thy lyre, even as the forest is: What if my leaves are falling like its own! The tumult of thy mighty harmonies Will take from both a deep, autumnal tone, Sweet though in sadness. Be thou, Spirit fierce, My spirit! Be thou me, impetuous one! Drive my dead thoughts over the universe Like wither’d leaves to quicken a new birth! And, by the incantation of this verse, Scatter, as from an unextinguish’d hearth Ashes and sparks, my words among mankind! Be through my lips to unawaken’d earth The trumpet of a prophecy! O Wind, If Winter comes, can Spring be far behind?

All things are recreated, and the flame Of consentaneous love inspires all life. The fertile bosom of the earth gives suck To myriads, who still grow beneath her care, Rewarding her with their pure perfectness; The balmy breathings of the wind inhale Her virtues and diffuse them all abroad; Health floats amid the gentle atmosphere, Glows in the fruits and mantles on the stream; No storms deform the beaming brow of heaven, Nor scatter in the freshness of its pride The foliage of the ever-verdant trees; But fruits are ever ripe, flowers ever fair, And autumn proudly bears her matron grace, Kindling a flush on the fair cheek of spring, Whose virgin bloom beneath the ruddy fruit Reflects its tint and blushes into love.

There was no doubt that the tree before us was the tree; it could have stepped from the tales into the forest. It was centered in an oddly round clearing, as if the other trees had all felt inclined to back away, and was towering but skeletal, its trunk only a little wider than I was and its many, many branches arching and tangling overhead, like a small person propping up a tremendous, many-layered umbrella. But the strangest thing about the tree was its foliage. There were leaves of summer-green mixed in with the fire and gold of autumn; tidy buds just opening their pink mouths, and, here and there, red fruits dangling in clusters, heavy with ripeness. These fruits could not be easily identified; they were roughly the size of apples, but furred like peaches.

Life did change for Tom and Maggie; and yet they were not wrong in believing that the thoughts and loves of these first years would always make part of their lives. We could never have loved the earth so well if we had had no childhood in it,–if it were not the earth where the same flowers come up again every spring that we used to gather with our tiny fingers as we sat lisping to ourselves on the grass; the same hips and haws on the autumn's hedgerows; the same redbreasts that we used to call "God's birds," because they did no harm to the precious crops. What novelty is worth that sweet monotony where everything is known, and loved because it is known? The wood I walk in on this mild May day, with the young yellow-brown foliage of the oaks between me and the blue sky, the white star-flowers and the blue-eyed speedwell and the ground ivy at my feet, what grove of tropic palms, what strange ferns or splendid broad-petalled blossoms, could ever thrill such deep and delicate fibres within me as this home scene? These familiar flowers, these well-remembered bird-notes, this sky, with its fitful brightness, these furrowed and grassy fields, each with a sort of personality given to it by the capricious hedgerows,–such things as these are the mother-tongue of our imagination, the language that is laden with all the subtle, inextricable associations the fleeting hours of our childhood left behind them. Our delight in the sunshine on the deep-bladed grass to-day might be no more than the faint perception of wearied souls, if it were not for the sunshine and the grass in the far-off years which still live in us, and transform our perception into love.

He ambled towards the abyss again, Acquiescing to the adroit turns of his Abtenauer, his Altai horse, his Appaloosa, His Ardennais, and his Australian Brumby….. Agilely each equine adumbrates the aesthetics Of aestivating, much like aficionados of nature And much like ailurophiles, too…… Ambrosial aromas attract his attention to the Assemblage of amaranth foliage growing At the abyss’s edge. “Anglophile!” “Antediluvian!” “Aplomb!” “Apocryphal!” “Apophenia!” “Apothecary!” Each petal calls out to him as he captures their vision in his Aqueous humor. Now an arabesque they display, Then some archipelago formation, as they (those purple perennials) Give in to the Wind’s whimsy. “What’s in my arsenal?” He asks himself. “Do I have Authenticity, like Astrophysics and Astronomy?” “Am I at last in my Autumn, torn asunder by Avarice? Shall I now step toward Winter to wither and waste away, without rebirth?” The Summer’s azure skies call him back, reminding him of his herd. Homeward he must turn. The pony pushes him back to the plain. And, as he trudges away from the abyss, the warriors of darkness— His old battle buddies who left him behind as they raced toward Providence— Rattle in his mind with their Paleolithic war toys, on the war path, chanting: “The greatest battles we face are in the silent chambers of our own souls…..” -----from the poem 'Summer Battle' in the book HOT STUFF: CELEBRATING SUMMER'S SIMMER AND SIZZLE, by Mariecor Ruediger

It is easy for the student to feel that with all his labour he is collecting only a few leaves, many of them now torn or decayed, from the countless foliage of the Tree of Tales, with which the Forest of Days is carpeted. It seems vain to add to the litter. Who can design a new leaf? The patterns from bud to unfolding, and the colours from spring to autumn were all discovered by men long ago. But that is not true. The seed of the tree can be replanted in almost any soil, even in one so smoke-ridden (as Lang said) as that of England. Spring is, of course, not really less beautiful because we have seen or heard of other like events: like events, never from world's beginning to world's end the same event. Each leaf, of oak and ash and thorn, is a unique embodiment of the pattern, and for some this very year may be the embodiment, the first ever seen and recognized, though oaks have put forth leaves for countless generations of men. We do not, or need not, despair of drawing because all lines must be either curved or straight, nor of painting because there are only three 'primary' colours. We may indeed be older now, in so far as we are heirs in enjoyment or in practice of many generations of ancestors in the arts. In this inheritance of wealth there may be a danger of boredom or of anxiety to be original, and that may lead to a distaste for fine drawing, delicate pattern, and 'pretty' colours, or else to mere manipulation and over-elaboration of old material, clever and heartless. But the true road of escape from such weariness is not to be found in the willfully awkward, clumsy, or misshapen, not in making all things dark or unremittingly violent; nor in the mixing of colours on through subtlety to drabness, and the fantastical complication of shapes to the point of silliness and on towards delirium. Before we reach such states we need recovery. We should look at green again, and be startled anew (but not blinded) by blue and yellow and red. We should meet the centaur and the dragon, and then perhaps suddenly behold, like the ancient shepherds, sheep, and dogs, and horses – and wolves. This recovery fairy-stories help us to make. In that sense only a taste for them may make us, or keep us, childish.

On the land, spring rains are the primitive artists, greening hills and valleys and coaxing flowers to vivid bud and bloom. Summer rains are the long-lived masters of color—the steadier they fall on hardwood trees in June, July, and August, the richer reds and yellows ignite the autumn foliage.

One of the best places to see fall foliage in mid-October is the Duck Pond at Haverford College. You will definitely fall in love with autumn all over again!

Old foliage ignores the anxious sun / since dismal winds convince each brittle branch / to hold no moment closely or too long / now shadows spread and all turns silhouette. / But then she smiles, reviving life with light, / and hope may spring eternal one more night. (from April, Autumnal)

His diary recorded a mixture of moods: October 17: Out to Mount Vernon. . . . Bracing cool air; cloudless sky; warm autumn sunshine. Shapeless, droopy people—stuffy from Sunday morning waffles and funny papers, tired from not walking—staggered out of shiny automobiles and dragged themselves around the grounds of the old mansion.... Grasshoppers flicked themselves around before us. An occasional late bird sang from the hard, many-colored foliage. The corn was stacked in the fields.... It was very nice and encouraging, but in the distance the roar of the Sunday traffic on the big turnpike was never lost, and it was never clearer that man is a skin-disease of the earth.

Many poplars and many elms shook overhead, and close by, holy water swashed down noisily from a cave of the nymphs. Brown grasshoppers whistled busily through the dark foliage. Far treetoads gobbled in the heavy thornbrake. Larks and goldfinch sang, turtledoves were moaning, and bumblebees whizzed over the plashing brook. The earth smelled of rich summer and autumn fruit: we were ankle-deep in pears, and apples rolled all about our toes. With dark damson plums the young sapling branches trailed on the ground.

The city could be nothing but a woman, and that’s good because your business is women. You know her tossed head in the auburn crowns of molting autumn foliage, Riverhead, and the park. You know the ripe curve of her breast where the River Dix molds it with a flashing bolt of blue silk. Her navel winks at you from the harbor in Bethtown, and you have been intimate with the twin loins of Calm’s Point and Majesta. She is a woman, and she is your woman, and in the fall she wears a perfume of mingled wood smoke and carbon dioxide, a musky, musty smell bred of her streets and of her machines and of her people. You have known her fresh from sleep, clean and uncluttered. You have seen her naked streets, have heard the sullen murmur of the wind in the concrete canyons of Isola, have watched her come awake, alive, alive. You have seen her dressed for work, and you have seen her dressed for play, and you have seen her sleek and smooth as a jungle panther at night, her coat glistening with the pinpoint jewels of reflected harbor light. You have known her sultry, and petulant, and loving and hating, and defiant, and meek, and cruel and unjust, and sweet, and poignant. You know all of her moods and all of her ways. She is big and sprawling and dirty sometimes, and sometimes she shrieks in pain, and sometimes she moans in ecstasy. But she could be nothing but a woman, and that’s good because your business is women. You are a mugger.

Autumn at home since it’s so pretty and I can wear a red dress to match the foliage.” “That sounds hot.” “You’re just horny.” “You’re too hot not to be and I miss you a lot.

For he realized at last that the spiritual balm he had always found in silent things was simply the assurance that the passions and agonies of man were without meaning, roots, or duration—no more part of the permanent background of the world than the curls of blue smoke that from time to time were wafted through the valley from the autumn bonfires of weeds and rubbish, and that he could see winding like blue wraiths in and out of the foliage of the trees.

Kent Falls set against a backdrop of autumnal color.

We live in an external world that is constantly undergoing alteration. Like every splendid and delicate aspect of nature, we are all fated to crumble and fall akin to the magenta leaves of autumn foliage. Until we die, we act as the architect of our diversified internal world. Our dreams and desires can lull us or inspire us.

They headed across the meadow, passing groups of students eating lunch. A mottled bird that looked like a cross between a chicken and a pheasant burst from the undergrowth. Ash watched it flutter into the trees, then land in the bushes. “What in the world…?” Vale followed his gaze to where the bird waddled through the undergrowth. “It’s a spruce grouse.” Ash stared into the trees. A few steps away from the meadow, the light dropped by half. “What did you call it again?” “Spruce grouse is the official name, though they’re sometimes called prairie chickens or fool hens.” Ash chuckled. “Fool hens, huh?” “Yeah. People think they’re kind of dumb—the way they let other animals get close to them. They’re pretty mellow.” Ash watched it as it faded back into the autumn foliage, the plumage a match to the brown and orange leaves. “How do you know all this stuff?” “I don’t know,” she said. “I read things, I guess.” “I know that, but where’d you learn the stuff about birds?” “I’ve got a couple books on wildlife. Books on the woods, and on camping, and survival, and…” Vale shrugged. “I just read a lot of stuff. Okay?” Ash grinned. “Pretty cool.