Eclipse Romantic Quotes

Isabella Swan?” He looked up at me through his impossibly long lashes, his golden eyes soft but, somehow, still scorching. “I promise to love you forever—every single day of forever. Will you marry me?” There were many things I wanted to say, some of them not nice at all, and others more disgustingly gooey and romantic than he probably dreamed I was capable of. Rather than embarrass myself with either, I whispered, “Yes.” “Thank you,” he said simply. He took my left hand and kissed each of my fingertips before he kissed the ring that was now mine.

It occurred to me then, like one of those moments I’d remember years from now . . . the crisp November air, the amber-colored field lights so bright they eclipsed the moon. The electricity of the win suffusing every breath, every cell, every particle of the world that was Vanquer, Texas . . .  Everyone has a story.

Guys don't get romantically involved." "What do they get?" "Involved, period.

I love the hint of copper in your eyes, radiating out like the sun, turning your pupils into an eclipse.' He ran his thumb down my cheekbone. 'The different striations of color, how every band of green is its own unique shade. A shard of a broken Heineken bottle, a blade of grass, moss on a rusty can.' 'Romantic...' I laughed.

Bailey went quiet, her expression softening. "You're right," she finally said. "It wouldn't have been smart." "Well, fuck me -- are you actually admitting that I was right about something?" "It's like an eclipse," she muttered. "Happens every so often.

Upon the publication of Goethe’s epic drama, the Faustian legend had reached an almost unapproachable zenith. Although many failed to appreciate, or indeed, to understand this magnum opus in its entirety, from this point onward his drama was the rule by which all other Faust adaptations were measured. Goethe had eclipsed the earlier legends and became the undisputed authority on the subject of Faust in the eyes of the new Romantic generation. To deviate from his path would be nothing short of blasphemy.

All love is alike, knowing no season, sun, or clime, but that damn sun does represent lovers’ ever-changing time. Why does it rise to show lovers nothing lasts? Does it not see those lovers and think, ‘I can eclipse and darken them with a wink. I could kill all love by rising and sending them to their forlorn pasts. I can make them for each other pine, and wait and wait as I rise and set. HA! Buffoons, they are all mine. And every time I shine they owe me a debt.

Sometime during high school he’d gotten . . . kind of . . . beautiful, and Harper found it easier to not look directly at him. When she did, it did strange things to her, making her voice high and her cheeks burn. So she only ever really looked at him out of the corner of her eyes, like one would look at a solar eclipse.

They may lack confidence in their ability to leave a romantic relationship when and if necessary. Fear of abandonment eclipses all other matters, including their own happiness in a relationship.

Falling moths! It was midnight as I passed by the street, There were street lights, that cast shadows elite, Long and elongated, as if to boast and bluff, A macabre sight with fiendish stuff, Shadows that scared their casters, As if they were signs of foreboding disasters, I still walked my course one step at a time, While the shadows committed their emotional and visual crime, Of intimidating the walker’s will and courage, But I knew they had a surmised existence and it tamed my rage, Then suddenly a moth fell over my shadow, I stopped, I could clearly feel its bravado, For the love of light, it dared the night, Even if it meant the moth was destined to be a fallen knight, But the night didn't know it kissed the light a 100 times, Before it fell just for the destiny’s sake, and for no felony and no crimes, Because if it is a crime to love light then I shall commit it too, And like the swarm of million moths I shall kiss the one I love even if it begets me a moth-like fate too, The fallen moth shivered and flapped its failing wings, As it lay covered in the shroud of light that silently, every night a dirge sings, To honour its all lover moths who fall just to kiss it, For even Gods and prophets have died to kiss it, The light, the light that reveals the true passions of a romantic moth, And the light that guides every traveler on life’s path, And tonight as moths flapped their failing wings over these bluffing shadows, I thought of you my love and then the endless sorrows, But the moth that fell over my shadow and died not suddenly but moment by moment, I heard it say, “the kiss of light, the kiss of life I had eventually felt!” So whenever I cross the street and street lights during the night, I think of you, I think of the moth, I think of light and then everything disappears from sight, And I see an infinite swarm of moths flying towards the sun, For the divine light shall fulfill the promises that here for the moth were left undone, And the eclipsed sun, that you and I see, Is actually an infinite swarm of moths kissing the sun, that appears to be a solar eclipse to fools like me, So let the fallen moth rest over these shadows in peace, And let the night moan these gallant lovers, whose valour is stronger than the warriors of Greece!

Things had been different when Garveyism and Ethiopianism rather than afro-centrism and occultism set the tone. To contain modernity, to appreciate its colonial constitution and to criticise its reliance on racialised governmental codes all required finding an autonomous space outside it. A desire to exist elsewhere supplied the governing impulse. It was captured in compelling forms in the period's best songs of longing and flight, like Bunny Wailer's anthem ‘Dreamland’ 5. However, there is no longer any uncontaminated, pastoral or romantic location to which opposition and dissent might fly, and so, a new culture of consolation has been fashioned in which being against this tainted modernity has come to mean being before it. Comparable investments in the restorative power of the pseudo-archaic occur elsewhere. They help to make Harry Potter's world attractive and are routine features of much ‘new age’ thinking. They govern the quest for a repudiation of modernity that is shared by the various versions of Islam which have largely eclipsed Ethiopianism as the principal spiritual resource and wellspring of critique among young black Europeans. Their desire to find an exit from consumerism's triumphant phantasmagoria reveals them to be bereft, adrift without the guidance they would have absorbed, more indirectly than formally, from the national liberation movements of the cold war period and the struggles for both civil and human rights with which they were connected. Instead, an America-centred, consumer-oriented culture of blackness has become prominent. In this post-colonial setting, it conditions the dreams of many young Britons, irrespective of their ancestral origins or physical appearance. This brash and celebratory imperial formation is barely embarrassed by the geo-political fault-line that re-divides the world, opposing the overdeveloped north to the suffering south. That barrier provides the defining element in a new topography of global power which is making heavy demands upon the overwhelmingly national character of civil society and ideal of national citizenship. It is clear that the versions of black politics that belonged to the west/rest polarity will not adapt easily to this new configuration.

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