Beautiful Panorama Quotes

You’re like a lighthouse shining beside the sea of humanity, motionless: all you can see is your own reflection in the water. You’re alone, so you think it’s a vast, magnificent panorama. You haven’t sounded the depths. You simply believe in the beauty of God’s creation. But I have spent all this time in the water, diving deep into the howling ocean of life, deeper than anyone. While you were admiring the surface, I saw the shipwrecks, the drowned bodies, the monsters of the deep

There is much that is immortal in this medieval lady. The dragons have gone, and so have the knights, but still she lingers in our midst. She reigned in many an early Victorian castle, and was Queen of much early Victorian song. It is sweet to protect her in the intervals of business, sweet to pay her honour when she has cooked our dinner well. But alas! the creature grows degenerate. In her heart also there are springing up strange desires. She too is enamoured of heavy winds, and vast panoramas, and green expanses of the sea. She has marked the kingdom of this world, how full it is of wealth, and beauty, and war--a radiant crust, built around the central fires, spinning towards the receding heavens. Men, declaring that she inspires them to it, move joyfully over the surface, having the most delightful meetings with other men, happy, not because they are masculine, but because they are alive. Before the show breaks up she would like to drop the august title of the Eternal Woman, and go there as her transitory self.

In the age of Facebook and Instagram you can observe this myth-making process more clearly than ever before, because some of it has been outsourced from the mind to the computer. It is fascinating and terrifying to behold people who spend countless hours constructing and embellishing a perfect self online, becoming attached to their own creation, and mistaking it for the truth about themselves.20 That’s how a family holiday fraught with traffic jams, petty squabbles and tense silences becomes a collection of beautiful panoramas, perfect dinners and smiling faces; 99 per cent of what we experience never becomes part of the story of the self. It is particularly noteworthy that our fantasy self tends to be very visual, whereas our actual experiences are corporeal. In the fantasy, you observe a scene in your mind’s eye or on the computer screen. You see yourself standing on a tropical beach, the blue sea behind you, a big smile on your face, one hand holding a cocktail, the other arm around your lover’s waist. Paradise. What the picture does not show is the annoying fly that bites your leg, the cramped feeling in your stomach from eating that rotten fish soup, the tension in your jaw as you fake a big smile, and the ugly fight the happy couple had five minutes ago. If we could only feel what the people in the photos felt while taking them! Hence if you really want to understand yourself, you should not identify with your Facebook account or with the inner story of the self. Instead, you should observe the actual flow of body and mind. You will see thoughts, emotions and desires appear and disappear without much reason and without any command from you, just as different winds blow from this or that direction and mess up your hair. And just as you are not the winds, so also you are not the jumble of thoughts, emotions and desires you experience, and you are certainly not the sanitised story you tell about them with hindsight. You experience all of them, but you don’t control them, you don’t own them, and you are not them. People ask ‘Who am I?’ and expect to be told a story. The first thing you need to know about yourself, is that you are not a story.

If beauty gains in depth when colored by fear, then there is probably nothing more beautiful in the world than the spectacle at the bottom of the sea.

...Puritanism has made life itself impossible. More than art, more than estheticism, life represents beauty in a thousand variations; it is indeed, a gigantic panorama of eternal change. Puritanism, on the other hand, rests on a fixed and immovable conception of life; it is based on the Calvinistic idea that life is a curse, imposed upon man by the wrath of God. In order to redeem himself man must do constant penance, must repudiate every natural and healthy impulse, and turn his back on joy and beauty. Puritanism celebrated its reign of terror in England during the sixteenth and seventeenth centuries, destroying and crushing every manifestation of art and culture. It was the spirit of Puritanism which robbed Shelley of his children, because he would not bow to the dicta of religion. It was the same narrow spirit which alienated Byron from his native land, because that great genius rebelled against the monotony, dullness, and pettiness of his country. It was Puritanism, too, that forced some of England's freest women into the conventional lie of marriage: Mary Wollstonecraft and, later, George Eliot. And recently Puritanism has demanded another toll--the life of Oscar Wilde. In fact, Puritanism has never ceased to be the most pernicious factor in the domain of John Bull, acting as censor of the artistic expression of his people, and stamping its approval only on the dullness of middle-class respectability.

He opened the door and led me through a corridor into a dark green lounge curiously paneled with pale green glass behind which, at cunningly measured distances, lay exquisitely painted panoramas of strange seas and beautiful landfalls. Standing in the center of the room, and slowly turning, a man might imagine that Satan had taken him to the top of a high mountain, and was showing him all the kingdoms of the earth... until he put out his hand to touch the middle distance, and felt a window, and saw through it to the heart of the illusion.

The mountain panorama was the backdrop to every photo taken here, the backdrop to everything. At first Ursula had thought it beautiful, now she was beginning to find its magnificence oppressive. The great icy crags and the rushing waterfalls, the endless pine trees--nature and myth fused to form the Germanic sublimated soul. German Romanticism, it seemed to Ursula, was write large and mystical, the English Lakes seemed tame by comparison. And the English soul, if it resided anywhere, was surely in some unheroic back garden--a patch of lawn, a bed of roses, a row of runner beans.

And then one day we found ourselves in a cornfield. After that it seemed like the whole world was made of corn. It was just the same cornfield over and over. I got to thinking that we'd suddenly be out of it and the Manhattan skyline would pop right up on the other side. But that never happened. The corn went on forever. But eventually we hit the slave state of Missouri, with its constant panorama of rural beauty.

In the age of Facebook and Instagram you can observe this myth-making process more clearly than ever before, because some of it has been outsourced from the mind to the computer. It is fascinating and terrifying to behold people spending countless hours constructing and embellishing a perfect self online, becoming attached to their own creation, and mistaking it for the truth about themselves.20 That’s how a family holiday fraught with traffic jams, petty squabbles, and tense silences becomes a collection of beautiful panoramas, perfect dinners, and smiling faces; 99 percent of what we experience never becomes part of the story of the self.

There can be no doubt whatsoever that the burning desire to obey only the call of one’s soul leaves infinite scope for action, a true state of anarchy, and there are cases of chemically pure souls actually committing crimes. But the minute a soul has morals, religion, philosophy, a well-grounded middle-class education, ideals in the spheres of duty and beauty, it has been equipped with a system of rules, conditions, and directives that it must obey before it can think of being a respectable soul, and its heat, like that of a blast furnace, is directed into orderly rectangles of sand. All that remains are only logical problems of interpretation, such as whether an action falls under this or that commandment, and the soul presents the tranquil panorama of a battlefield after the fact, where the dead lie still and one can see at once where a scrap of life still moves or groans.

Our hopes are high. Our faith in the people is great. Our courage is strong. And our dreams for this beautiful country will never die. - Pierre Elliot Trudeau, Former Prime Minister of Canada

Here was a small corner of the Greek archipelago; sky-blue, caressing waves, islands and rocks, a flowering strip of coastline, a magical panorama in the distance, an inviting sunset — you can’t describe it in words. This is what the peoples of Europe remembered as their cradle; here unfolded the first scenes of mythology, here was their earthly paradise. Here lived beautiful people! They got up and went to sleep happy and innocent; the groves were filled with their joyous songs, their great excess of untapped energies went into love and artless joy. The sun bathed these islands and the sea in its rays, rejoicing in its beautiful children.

His subject is the universe, from stars all the way down to polyps, and ultimately what the Natural History presents is a panorama of an ancient world crawling with myth and misinformation, but also elegant and ordered and deeply beautiful.

After seeing the various fantastic sights, a visitor to Panorama Island would have had to gasp in amazement at this unsurpassable view. He would have had the impression that the entire island was a rose floating on the vast ocean and that the giant scarlet flower of an opium dream was conversing on an equal footing with the sun in the sky, just the two of them. What kind of strange beauty had that incomparable simplicity and grandeur created? Some travelers might have recalled the world of myth that their distant ancestors had seen. . . . How can the author describe the madness and debauchery, the pleasures of revelry and drunkenness, the numberless games of life and death that were played day and night on that magnificent stage? You readers might find something that resembled it, in part, in your most fantastic, bloodiest, and most beautiful nightmares.

What then is the difference between film and theatre? Or should one not rather ask: what are the differences? Let us be content wi th the reply that the screen has two dimensions and the stage three, that the screen presents photographs and the stage living actors. All the subtler differences stem from these. The camera can show us all sorts of things--from close-ups of insects to panoramas of prairies--which the stage cannot even suggest, and it can move from one to another with much more dexterity than any conceivable stage. The stage, on the other hand, can be revealed in the unsurpassable beauty of three-dimensional shapes, and the stage actor establishes between himself and his audience a contact real as electricity.

Francis asks Julia if the children couldn’t have their dinner earlier. Julia’s guns are loaded for this. She can’t cook two dinners and lay two tables. She paints with lightning strokes that panorama of drudgery in which her youth, her beauty, and her wit have been lost. Francis says that he must be understood; he was nearly killed in an airplane crash, and he doesn’t like to come home every night to a battlefield. Now Julia is deeply concerned.

It is only the contemplative, witness-like study of objects that brings to us real enjoyment and happiness. The animal has its happiness in the senses, the man in his intellect, and the god in spiritual contemplation. It is only to the soul that has attained to this contemplative state that the world really becomes beautiful. To him who desires nothing, and does not mix himself up with them, the manifold changes of nature are one panorama of beauty and sublimity.

Except for the Marabar Caves—and they are twenty miles off—the city of Chandrapore presents nothing extraordinary. Edged rather than washed by the river Ganges, it trails for a couple of miles along the bank, scarcely distinguishable from the rubbish it deposits so freely. There are no bathing-steps on the river front, as the Ganges happens not to be holy here; indeed there is no river front, and bazaars shut out the wide and shifting panorama of the stream. The streets are mean, the temples ineffective, and though a few fine houses exist they are hidden away in gardens or down alleys whose filth deters all but the invited guest. Chandrapore was never large or beautiful, but two hundred years ago it lay on the road between Upper India, then imperial, and the sea, and the fine houses date from that period. The zest for decoration stopped in the eighteenth century, nor was it ever democratic. There is no painting and scarcely any carving in the bazaars. The very wood seems made of mud, the inhabitants of mud moving. So abased, so monotonous is everything that meets the eye, that when the Ganges comes down it might be expected to wash the excrescence back into the soil. Houses do fall, people are drowned and left rotting, but the general outline of the town persists, swelling here, shrinking there, like some low but indestructible form of life.

Speaking of Puritanism in relation to American art, Mr. Gutzon Borglum said: “Puritanism has made us self-centered and hypocritical for so long, that sincerity and reverence for what is natural in our impulses have been fairly bred out of us, with the result that there can be neither truth nor individuality in our art.” Mr. Borglum might have added that Puritanism has made life itself impossible. More than art, more than estheticism, life represents beauty in a thousand variations; it is, indeed, a gigantic panorama of eternal change. Puritanism, on the other hand, rests on a fixed and immovable conception of life; it is based on the Calvinistic idea that life is a curse, imposed upon man by the wrath of God. In order to redeem himself man must do constant penance, must repudiate every natural and healthy impulse, and turn his back on joy and beauty.

But hitherto the emotion had remained in him as a silent ache, veiling with sadness the beauty that evoked it. He did not even know whether anyone else in the world felt as he did, or whether he was the sole victim of this mournful privilege. Then he learned that one other spirit had trembled with the same touch of wonder: that at his side, living under his roof and eating his bread, was a creature to whom he could say: ‘That’s Orion down yonder; the big fellow to the right is Aldebaran, and the bunch of little ones —like bees swarming — they’re the Pleiades...’ or whom he could hold entranced before a ledge of granite thrusting up through the fern while he unrolled the huge panorama of the ice age, and the long dim stretches of succeeding time. The fact that admiration for his learning mingled with Mattie’s wonder at what he taught was not the least part of his pleasure. And there were other sensations, less definable but more exquisite, which drew them together with a shock of silent joy: the cold red of sunset behind winter hills, the flight of cloud-flocks over slopes of golden stubble, or the intensely blue shadows of hemlocks on sunlit snow. When she said to him once: ‘It looks just as if it was painted!’ it seemed to Ethan that the art of definition could go no farther, and that words had at last been found to utter his secret soul....

Like drops of water that fall on the rocks of the jungle, the silence is full of tenderness. Whisper softly my poetry unraveling your admiration. In the name of night. Everything I see is simplicity in your beautiful body Like an incandescent light that dispels the darkness Then it bounced on the rose petals in the dim moonlight. Blushing reconciles the anxiety of the soul Comforting a sore heart Your beauty is a flower that unites to dazzle the majesty of the universe. Ahhh love... Your beauty is like a waterfall from the height of a cliff that is so sensual, showing the magic of a perfect panorama. How seductive and alluring is your soft skin..... As gentle as the twilight wind blew the dandelions scattered under the night sky. As soft as a lump of cotton that lay white on the heart rug. As gentle as the caress of the night breeze, flaking your shiny black hair. Ahhh. Let my breath rest for a moment Here, Between two seas of wine flowing red I find on your lips. How beautiful is love When the stalks of a kiss fall lying down Tickling spoiled and whispering intimately about the love that is heaven behind your ear with a warm whisper blowing slowly And Slowly... caressing your face in a long soft moan Lull a thousand touches and then cast your body into a pleasure that you have not found. In the name of my chest. Let our restless tantrums grapple in the flames of burning love. Until our passion quells the passion, Wet and subside. ️

Dear Mother, . . . We have been putting in our time here at very hard drilling, and are supposed to have learned in six weeks what the ordinary recruit, in times of peace, takes all his two years at. We rise at 5, and work stops in the afternoon at 5. A twelve hours day at one sou a day. I hope to earn higher wages than this in time to come, but I never expect to work harder. The early rising hour is splendid for it gives one the chance to see the most beautiful part of these beautiful autumn days in the South. We march up to a lovely open field on the end of the ridge behind the barracks, walking right into the rising sun. From this panorama, spread about on three sides is incomparably fine—yellow cornfields, vineyards, harvest-fields where the workers and their teams can be seen moving about in tiny figures—poplars, little hamlets and church-towers, and far away to the south the blue line of the Pyrenees, the high peaks capped with snow. It makes one in love with life, it is all so peaceful and beautiful. But Nature to me is not only hills and blue skies and flowers, but the Universe, the totality of things, reality as it most obviously presents itself to us; and in this universe strife and sternness play as big a part as love and tenderness, and cannot be shirked by one whose will it is to rule his life in accordance with the cosmic forces he sees in play about him. I hope you see the thing as I do, and think that I have done well, being without responsibilities and with no one to suffer materially by my decision, in taking upon my shoulders, too, the burden that so much of humanity is suffering under, and, rather than stand ingloriously aside when the opportunity was given me, doing my share for the side that I think right. . . .

Imagine a seasoned hiker preparing for a daunting, yet beautiful journey. Their backpack is full, but their most essential tool is intangible: their innate self-awareness. This is akin to our journey on the relationship highway, a dynamic panorama of human connections ranging from familial to romantic ties. Navigating this diverse terrain requires a unique kind of GPS: Grounded Peronsal Self-Awareness.

There must have been a time in this world when humans realized for the first time the beauty that resides in the sinuosity of a curve.

It is fascinating and terrifying to behold people who spend countless hours constructing and embellishing a perfect self online, becoming attached to their own creation, and mistaking it for the truth about themselves. That's how a family holiday fraught with traffic jams, petty squabbles and tense silences becomes a collection of beautiful panoramas, perfect dinners and smiling faces; 99 per cent of what we experience never becomes part of the story of the self. (page 185)

The estate looked vast and prosperous- on the surface, at least. Bella Vista was stunningly lovely, the orchards well tended and clearly productive. If there was a place in the world that was closer to heaven, she wasn't aware of it. Bella Vista- Beautiful View. A panorama view of the orchards, herb and flower fields radiated outward from the patio. The scents of ripe apples, lavender and roses rode the breeze, mingling with the mind-melting aroma of Isabel's fresh-baked croissants.

Where I had expected to appreciate the monuments and love the natural environment, the reality was entirely the reverse. The immense beauty of many buildings and landscapes had an immediate and visceral impact, and yet in the natural world, where I am generally most comfortable, I was hesitant. While I was duly impressed by what I saw, I could never connect bodily and emotionally. Being from a flat, dry continent, I looked forward to the prospect of soaring alps and thundering rivers, lush valleys and fertile plains, and yet when I actually behind them, I was puzzled by how muted by responses were. My largely Eurocentric education had prepared me for a sense of recognition I did not feel, and this was confounding. The paintings and poems about all these places still moved me, so I couldn't understand the queer impatience that crept up when I saw them in real time and space. Weren't these landforms and panoramas beautiful? Well, yes, of course they were, although a little bit of them seemed to go a long way. To someone from an austere landscape, they often looked too cute; they were pretty, even saccharine. I had a nagging sensation that I wasn't 'getting it.

Because of this genuine love for horses, the beautiful wild-horse panorama beneath Pan swelled his heart. He gazed and gazed. From near to far the bands dotted the green-gray valley. Far away this valley floor shaded into blue. Near at hand the colors were easily distinguishable. Blacks and bays, whites and chestnuts, pintos that resembled zebras dotted this wild pasture land. The closest band to where Pan and Blinky stood could not have been more than a mile distant, in a straight line. A shiny black stallion was the leader of this herd. He was acting strangely, too, trotting forward and halting, tossing his head and long black mane.

Writing about others like me who long to escape the “clutch of mechanistic civilization,” Bob Marshall said, “To them the enjoyment of solitude, complete independence, and the beauty of undefiled panoramas is absolutely essential to happiness. In the wilderness they enjoy the most worthwhile or perhaps the only worthwhile part of life.

The Ozarks are mountains in the Deep South sense of the word, not pyramidal peaks or potential ski slopes or alpine crags, but irregular elevations, a succession of low, deep green ridges, a sea of long, lumpy hills to the horizon in a dramatic panorama. That there is an identifiable and sundown-framed horizon in their midst gives the Ozarks their uniqueness: mountains that allow a great, gaudy, and effulgent sunset. No single Ozarkian topographical feature is apparent, but the whole of it – the broad shifting vista of elongated hills – appears like flattened and thickly forested mesas. And the view is especially moving because it seems unpeopled, the isolated communities hidden in hollows and behind the slopes, some of which are bunchy with old-growth trees, still remote and beautiful.

I seek more than diminishing pain. I want to experience a splendid life, a life full of gaiety, charming people, beautiful panoramas, outstanding adventures, and sublime interpersonal experiences. In place of squandering personal resources and wasting valuable time, yearning to satisfying these improbable goals, I wish to learn from gross errors. I desire to cease castigating myself for prior mistakes. A realistic personal goal is striving to achieve presence of mind, demonstrate consistent attentiveness to the present, rather than continually worry about the past or the future.

It might be said that this feeling for violence and brutality, for the pageant and panorama of fascism on the Continent, formed her principal disinterested aesthetic pleasure. She had few others. She read practically nothing: she did not respond to music or pictures: she never went to the theatre and very seldom to the movies: and although she had an instinctive ability to dress well and effectively when she desired, she did not even like pretty things. She only liked what affected her personally and physically and immediately – sleep, warmth, a certain amount of company and talk, drinks, getting drunk, good food, taxis, ease. She was not even responsive to adulation, save when, coming from a man, it promised to further these necessities. She was atrophied. She looked like a Byron beauty, but she was a fish.

To calm my jangled nerves, I rose early and went for a long jog along the Kamo River. As often happens during such times, the world came into stark relief. As I ran up the embankment, details popped, such as the nickel-blue river, topaz marsh grass, and leafless trees that looked almost silk-screened onto a paper panorama of Kyoto. Flushed with endorphins, I dashed back to the Guesthouse feeling much calmer about meeting with the Grand Tea Master. By 8:00, I was down in the den drinking coffee and breakfasting on persimmon toast. Persimmons had recently come into season and, when sweet and jelly-soft, made a luscious topping for crisp buttered whole wheat bread.

The bright sun shone upon us; the lake was blue under the westerly breeze, and luminous, how luminous! the whole far world of our imagination. How like a colored lens the colored present! through it we see the forward vista of our lives. Here, in the measure that the water widened in our wake and heart strings stretched to almost breaking, the golden future neared us and enfolded us, made us at last — how soon! — oblivious to all things but the glamour of adventure. And while one world diminished, narrowed and then disappeared, before us a new world unrolled and neared us to display itself. Who can deny the human soul its everlasting need to make the unknown known; not for the sake of knowing, not to inform itself or be informed or wise, but for the need to exercise the need to know? What is that need but the imagination’s hunger for the new and raw materials of its creative trade? Of things and facts assured to us and known we’ve got to make the best, and live with it. That humdrum is the price of living. We live for those fantastic and unreal moments of beauty which our thoughts may build upon the passing panorama of experience.

a Bohemian artist named Wenceslas Hollar sometime in the late 1630s or early 1640s. Called the Long View, it is a lovely drawing—“ perhaps the most beautiful and harmonious of all London panoramas,” in Peter Ackroyd’s estimation—but a slightly strange one in that it depicts a view from a position slightly above and behind the tower of Southwark Cathedral (then known as the Church of Saint Saviour and Saint Mary Overie), as if Hollar had been looking down on the cathedral from another building—a building that did not in fact exist. So it is a view—entirely accurate as far as can be made out—that no human had ever seen. More to the point, it showed the second Globe, not the first, which had burned down in 1613, three years before Shakespeare died. The second Globe was a fine theater, and we are lucky to have Hollar’s drawing of it, for it was pulled down soon afterward, but it was patently not the place where Julius Caesar, Macbeth, and a dozen or so other Shakespeare plays were (probably to almost certainly) first performed.

Balancing herself against the last chimney, Nancy surveyed the countryside around her. What a beautiful and picturesque panorama it was, she thought! Not far away was a lazy little river, whose waters sparkled in the sunlight. The surrounding fields were green and sprinkled with patches of white daisies

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