Empty Vase Quotes

Empty, empty, empty; silent, silent, silent. The room was a shell, singing of what was before time was; a vase stood in the heart of the house, alabaster, smooth, cold, holding the still, distilled essence of emptiness, silence.

Whenever I see the alcove of a tastefully built Japanese room, I marvel at our comprehension of the secrets of shadows, our sensitive use of shadow and light. For the beauty of the alcove is not the work of some clever device. An empty space is marked off with plain wood and plain walls, so that the light drawn into its forms dim shadows within emptiness. There is nothing more. And yet, when we gaze into the darkness that gathers behind the crossbeam, around the flower vase, beneath the shelves, though we know perfectly well it is mere shadow, we are overcome with the feeling that in this small corner of the atmosphere there reigns complete and utter silence; that here in the darkness immutable tranquility holds sway.

Emilienne wore Maman's wedding dress. Just after the ceremony, Emilienne glanced in the mirror. She saw not her own reflection but a tall empty vase.

There are people like Senhor José everywhere, who fill their time, or what they believe to be their spare time, by collecting stamps, coins, medals, vases, postcards, matchboxes, books, clocks, sport shirts, autographs, stones, clay figurines, empty beverage cans, little angels, cacti, opera programmes, lighters, pens, owls, music boxes, bottles, bonsai trees, paintings, mugs, pipes, glass obelisks, ceramic ducks, old toys, carnival masks, and they probably do so out of something that we might call metaphysical angst, perhaps because they cannot bear the idea of chaos being the one ruler of the universe, which is why, using their limited powers and with no divine help, they attempt to impose some order on the world, and for a short while they manage it, but only as long as they are there to defend their collection, because when the day comes when it must be dispersed, and that day always comes, either with their death or when the collector grows weary, everything goes back to its beginnings, everything returns to chaos.

From her very flesh and blood and from the constant cycles of filling and emptying the red vase in her belly, a woman understands physically, emotionally, and spiritually that zeniths fade and expire, and what is left is reborn in unexpected ways and by inspired means, only to fall back to nothing, and yet be reconceived again in full glory.

In Plaster I shall never get out of this! There are two of me now: This new absolutely white person and the old yellow one, And the white person is certainly the superior one. She doesn't need food, she is one of the real saints. 
At the beginning I hated her, she had no personality -- She lay in bed with me like a dead body 
And I was scared, because she was shaped just the way I was 
 Only much whiter and unbreakable and with no complaints. I couldn't sleep for a week, she was so cold. I blamed her for everything, but she didn't answer. 
I couldn't understand her stupid behavior! 
When I hit her she held still, like a true pacifist. 
Then I realized what she wanted was for me to love her: She began to warm up, and I saw her advantages. 

Without me, she wouldn't exist, so of course she was grateful. 
I gave her a soul, I bloomed out of her as a rose 
Blooms out of a vase of not very valuable porcelain, And it was I who attracted everybody's attention, 
Not her whiteness and beauty, as I had at first supposed. 
I patronized her a little, and she lapped it up -- 
You could tell almost at once she had a slave mentality. 

I didn't mind her waiting on me, and she adored it. 
In the morning she woke me early, reflecting the sun 
From her amazingly white torso, and I couldn't help but notice 
Her tidiness and her calmness and her patience: She humored my weakness like the best of nurses, 
Holding my bones in place so they would mend properly. In time our relationship grew more intense. 

She stopped fitting me so closely and seemed offish. 
I felt her criticizing me in spite of herself, 
As if my habits offended her in some way. She let in the drafts and became more and more absent-minded. 
And my skin itched and flaked away in soft pieces 
Simply because she looked after me so badly. Then I saw what the trouble was: she thought she was immortal. She wanted to leave me, she thought she was superior, 
And I'd been keeping her in the dark, and she was resentful -- Wasting her days waiting on a half-corpse! 
And secretly she began to hope I'd die. Then she could cover my mouth and eyes, cover me entirely, 
And wear my painted face the way a mummy-case Wears the face of a pharaoh, though it's made of mud and water. 

I wasn't in any position to get rid of her. She'd supported me for so long I was quite limp -- I had forgotten how to walk or sit, So I was careful not to upset her in any way 
Or brag ahead of time how I'd avenge myself. Living with her was like living with my own coffin: Yet I still depended on her, though I did it regretfully. I used to think we might make a go of it together -- 
After all, it was a kind of marriage, being so close. 
Now I see it must be one or the other of us. She may be a saint, and I may be ugly and hairy, 
But she'll soon find out that that doesn't matter a bit. I'm collecting my strength; one day I shall manage without her, 
And she'll perish with emptiness then, and begin to miss me. --written 26 Feburary 1961

Katherine is the master of anger; she dominates anger. She takes anger in her hands and twists its neck, ripping its head off. She throws anger against the wall and stomps it to death. Her voice rises, it changes, it conjures up ghosts and cusses in a spitting Irish brogue. Then, when she's tapped out empty, she picked anger up between her a thumb and a forefinger and carries it outside and drops it in the trash. On her way back, she scoops up forgiveness like a bouquet, sniffs it deep and arranges it in a vase. She sets forgiveness down, shining in the middle of everything.

The Death of Allegory I am wondering what became of all those tall abstractions that used to pose, robed and statuesque, in paintings and parade about on the pages of the Renaissance displaying their capital letters like license plates. Truth cantering on a powerful horse, Chastity, eyes downcast, fluttering with veils. Each one was marble come to life, a thought in a coat, Courtesy bowing with one hand always extended, Villainy sharpening an instrument behind a wall, Reason with her crown and Constancy alert behind a helm. They are all retired now, consigned to a Florida for tropes. Justice is there standing by an open refrigerator. Valor lies in bed listening to the rain. Even Death has nothing to do but mend his cloak and hood, and all their props are locked away in a warehouse, hourglasses, globes, blindfolds and shackles. Even if you called them back, there are no places left for them to go, no Garden of Mirth or Bower of Bliss. The Valley of Forgiveness is lined with condominiums and chain saws are howling in the Forest of Despair. Here on the table near the window is a vase of peonies and next to it black binoculars and a money clip, exactly the kind of thing we now prefer, objects that sit quietly on a line in lower case, themselves and nothing more, a wheelbarrow, an empty mailbox, a razor blade resting in a glass ashtray. As for the others, the great ideas on horseback and the long-haired virtues in embroidered gowns, it looks as though they have traveled down that road you see on the final page of storybooks, the one that winds up a green hillside and disappears into an unseen valley where everyone must be fast asleep.

Four vases sat proudly on the side table behind the dining table and chairs; one held roses, one violets, one poppies. The fourth was empty. I

I let his rose wither in a vase on my desk, a vase painfully empty of flowers since the long-ago time when, on my birthday, Mario would give me a cattleya, in imitation of Swann. In the evening the flower was already black and bent on its stem. I threw it in the trash.

Through my attachments, I was dependent on my relationships to fulfill my needs. I allowed those relationships to define my happiness or my sadness, my fulfillment or my emptiness, my security, and even my self-worth. And so, like the vase placed where it will inevitably fall, through those dependencies I set myself up for disappointment. I set myself up to be broken.

The shock caused by the fall of a careless word displaces that against which it strikes. At times it happens, without our knowing why, that because we have received an almost imperceptible blow from a chance word, the heart insensibly empties itself of love. He who loves, perceives a decline in his happiness. There is nothing more to be dreaded than this slow exudation from the fissure in the vase.

The corridor smelled of water in the bottoms of purple vases and the piano was banging just beyond this emptiness.

Empty, empty, empty, silent, silent, silent. The room was a shell, singing of what was before time was; a vase stood in the heart of the house, alabaster, smooth, cold, holding the still, distilled essence of emptiness, silence.

He swung it open and presented me with a single red rose. "For you," he said. "Very gallant," I replied. "Of course you do realize I have the same cut flower in my room." Ben glanced over his shoulder at the now empty bud vase sitting on his table. "Hmm. Didn't really think that out. Still gallant?" "Very." "You happen to look ravishing tonight." He said it with a British accent that made me laugh out loud. "As do you, sir," I responded in kind. "Excellent. Shall we go, then?" He extended his arm and I linked my own through it, first shifting my camera bag to my other shoulder so it wouldn't bang between us.

But this is—this is incredible!” Goldsmit stopped in an empty hallway next to a table with a vase full of edelweiss flowers. “Switzerland is neutral!” “Do you think the Nazis care?” I asked him.

Empty—it was utterly empty here. Like a tomb. “Tam?” I called. I bounded up the front steps and into the house. I rushed inside, swearing as I slid on a piece of broken porcelain—the remnants of a vase. Slowly, I turned in the front hall. It looked as if an army had marched through. Tapestries hung in shreds, the marble banister was fractured, and the chandeliers lay broken on the ground, reduced to mounds of shattered crystal. “Tamlin?” I shouted. Nothing. The windows had all been blown out. “Lucien?” No one answered. “Tam?” My voice echoed through the house, mocking me. Alone in the wreckage of the manor, I sank to my knees. He was gone.

The floating water vases of Zenn-La are always empty. The methanic sulfite that causes the water to levitate is poisonous to all known species of flowers. The mystery is then not why they are empty, but why anyone would make such a vase.

Once let down, I never fully recovered. I could never forget, and the break never mended. Like a glass vase that you place on the edge of a table, once broken, the pieces never quite fit again. However the problem wasn’t with the vase, or even that the vases kept breaking. The problem was that I kept putting them on the edge of tables. Through my attachments, I was dependent on my relationships to fulfill my needs. I allowed those relationships to define my happiness or my sadness, my fulfillment or my emptiness, my security, and even my self-worth. And so, like the vase placed where it will inevitably fall, through those dependencies I set myself up for disappointment. I set myself up to be broken. And that’s exactly what I found: one disappointment, one break after another. Yet the people who broke me were not to blame any more than gravity can be blamed for breaking the vase. We can’t blame the laws of physics when a twig snaps because we leaned on it for support. The twig was never created to carry us. Our weight was only meant to be carried by God. We are told in the Qur’an: "…whoever rejects evil and believes in God hath grasped the most trustworthy hand-hold that never breaks. And God hears and knows all things." (Qur’an, 2: 256) There is a crucial lesson in this verse: that there is only one hand-hold that never breaks. There is only one place where we can lay our dependencies. There is only one relationship that should define our self-worth and only one source from which to seek our ultimate happiness, fulfillment, and security. That place is God. However,

For the beauty of the alcove is not the work of some clever device. An empty space is marked off with plain wood and plain walls, so that the light drawn into it forms dim shadows within emptiness. There is nothing more. And yet, when we gaze into the darkness that gathers behind the crossbeam, around the flower vase, beneath the shelves, though we know perfectly well it is mere shadow, we are overcome with the feeling that in this small corner of the atmosphere there reigns complete and utter silence; that here in the darkness immutable tranquility holds sway. The “mysterious Orient” of which Westerners speak probably refers to the uncanny silence of these dark places. And even we as children would feel an inexpressible chill as we peered into the depths of an alcove to which the sunlight had never penetrated. Where lies the key to this mystery? Ultimately it is the magic of shadows. Were the shadows to be banished from its corners, the alcove would in that instant revert to mere void.

There are people like Senhor José everywhere, who fill their time, or what they believe to be their spare time, by collecting stamps, coins, medals, vases, postcards, matchboxes, books, clocks, sport shirts, autographs, stones, clay figurines, empty beverage cans, little angels, cacti, opera programmes, lighters, pens, owls, music boxes, bottles, bonsai trees, paintings, mugs, pipes, glass obelisks, ceramic ducks, old toys, carnival masks, and they probably do so out of something that we might call metaphysical angst, perhaps because they cannot bear the idea of chaos being the one ruler of the universe, which is why, using their limited powers [...], they attempt to impose some order on the world, and for a short while they manage it, but only as long as they are there to defend their collection, because when the day comes when it must be dispersed, and that day always comes, either with their death or when the collector grows weary, everything goes back to its beginnings, everything returns to chaos.

A future society in which humans and objects resemble each other - what does that mean? Does it mean that in the twenty-second century, tables, vases, and wine glasses will love, cry, and feel loneliness like humans? Or does it mean that in the twenty-second century, people will live empty lives like vases and tables, unable to feel love, pain or loneliness?

There were books everywhere. There were pens, and a blue glass vase, an ash tray from the Dolder Grand in Zürich, the rusted arrow of a weather vane, a little brass hourglass, sand dollars on the windowsill, a pair of binoculars, and empty wine bottle that served as a candle holder, wax melted down the neck. I touch this thing and that. At the end, all that's left of you are your possessions.

Naturally, Wendell's apartments are absurdly comfortable, and somehow there is the atmosphere of a forest about them, though I know this makes little sense. The ceilings are very high, rather like the canopy of an ancient grove--- I suspect he has enchanted them somehow--- and always there is the sound of rustling leaves, though this abruptly ceases if you listen too closely. I would have expected a lot of luxurious frippery from faerie royalty, but his furnishings are simple--- a scattering of sofas, impossible soft; a huge oak table; three magnificent inglenook fireplaces; and a great deal of empty floor through which an impossible little breeze is always stirring, smelling of moss. For decoration there is the mirror from Hrafnsvik with the forest reflected inside it and a few silver baubles, sculptures and vases and the like, which catch the light in unexpected ways, but that's it. And, of course, the place is so clean one feels one may sully it by breathing too hard.

I don’t love her!” he shouted. His voice echoed through his empty apartment. He stood and toppled his coffee table, its glass top shattering as it hit the floor. He kicked the sofa several times then went on a full rampage through his lavish apartment. Every ornament got a taste of his wrath. Curtains were ripped off the railings. Paintings were hit off the wall. Vases were flung across the room. Nothing was exempt from this riotous frenzy. Loud banging. Damaged furniture. Cracked glass. Everything that was whole and complete needed to be destroyed. Everything needed to feel the same way he did. Broken… Shattered… “I don’t love her.” He collapsed hopelessly into the mess he created, not caring about the jagged pieces of glass that pierced his skin. “I don’t love her.” He shut his eyes but the tears streamed down his cheeks regardless. “Love isn’t this painful.

Simple." Braydyn took a deep breath. "Those other lasses are vases and she's a flower pot." "Dude, what the hell are you talking about? Vases and flower pots?" Mitch furrowed his brow in confusion. "Vases are usually beautiful and purely decorative. They're sleek and sometimes expensive. But they are also the place flowers go te die. They can only bring life to the flower for so long before its empty shell eventually kills it. And if they're not used te temporarily hold flowers, then they're empty and meant for nothing more than te look pretty on someone's shelf or mantel." Bradyn leaned back in his chair, placed his hands on the back on his head and smiled, before continuing. "Now, a flower pot can be bonnie, painted, or even a little fancy. They can also be chipped and round and even plain. But they're filled with rich soil and if treated right, they are the places where flowers go te grow. Payton is a flower pot. Those other lasses are vases. I have no need for a vase.

Then a spotlight came on over a table near the front of the room. It had a white tablecloth and there was a single red rose in a vase with a yellow ribbon tied around the top. A place setting with an upside down glass, a single candle, and an empty chair completed the setup. The lights dimmed and a man at the front of the room began to speak. “The cloth is white—symbolizing the purity of their motives when answering the call to serve. The single red rose reminds us of the lives of these Americans…and their loved ones and friends who keep the faith, while seeking answers. The yellow ribbon symbolizes our continued uncertainty, hope for their return and determination to account for them. A slice of lemon reminds us of their bitter fate, captured and missing in a foreign land. A pinch of salt symbolizes the tears of our missing and their families—who long for answers after decades of uncertainty. The lighted candle reflects our hope for their return—alive or dead. The glass is inverted—to symbolize their inability to share a toast. The chair is empty—they are missing. A moment of silence for the lost heroes.

I've learned to appreciate what my grandmother told me when I was younger, which was simple. When you were born, your life is like an empty vase. All your life people put flowers in your vase. You should give the flowers back because you don't want to leave this earth with your vase full.

Imagine an empty vase. The space inside is exactly the same as the space outside. Only the fragile walls of the vase separate one from the other. Our buddha mind is enclosed within the walls of our ordinary mind. But when we become enlightened, it is as if that vase shatters into pieces. The space “inside” merges instantly into the space “outside.” They become one: There and then we realize they were never separate or different; they were always the same.

Grief is funny like that, how it ebbs and flows from you, it’s not corked like champagne, a bottle that bursts open, fizzes all out until it’s empty. It’s more like a kind of weather. A kind of wind. Sometimes it’s these horrible gusts that you feel undeniably, hurts your ears, makes you close your eyes, chills you right down to your bones, some days it’s a pleasant breeze that blows across your face and it’s neither sad or bad, it’s just some kind of unspeakable tenderness. Some days you feel no breeze, that’s started happening to me—I don’t know how I feel about it yet—not that I don’t think of her, I sort of think I’ll think of her every day for forever, but more that, when I do, it doesn’t necessarily feel like someone’s dropping a crystal vase inside my chest. That’s not to say I don’t still have days where I’m a glassware shop situated somewhere along the San Andreas Fault and there’s an earthquake and things are falling and breaking everywhere, but there was a time where every day felt like the big one California’s waiting for—just total demolition. I suppose it doesn’t feel like total destruction anymore.

Lacan stresses that emptiness and fullness —the void of the vase and the possibility of filling it— are introduced to the world simultaneously. On this account, the signifier is not merely what mortifies the body, but also what empowers the subject to move to an existential space beyond mortification by granting it the gift of creativity. Lacan’s vision of the subject’s relationship to the signifier is therefore complex in that although he consistently accentuates the subject’s relative helplessness vis-à-vis the larger systems of signification that envelop it, he at the same time suggests that it is only by virtue of its membership in the symbolic order that the subject possesses the capacity to make meaning in the first place. The symbolic, in other words, is not merely (or even primarily) a hegemonic structure that coerces the subject into its law, but also the foundation of its psychic and creative potentialities.

It is fathomless, since it is God. One flings into that well the labor of one's whole life, one flings in one's fortune, one flings in one's riches, one flings in one's success, one flings in one's liberty or fatherland, one flings in one's well-being, one flings in one's repose, one flings in one's joy! More! more! more! Empty the vase! tip the urn! One must finish by flinging in one's heart.

The silence sings, the stillness sways, a lingering kiss blossoms into dawn. Sunlight fills an empty vase with music; a thousand golden melodies spill from the Beloved's heart as something hidden whispers: This… is how beautiful you are.

No. Not another dime.” The man at the table said into the phone. “The sucker bank is closed.” Sucker bank. Good one. Alex gestured at the bare table, nothing but the daisy in the little vase in the center and a half empty sugar caddy.

They were mistaken if they thought he did not kill her because he loved her too much. At that moment Nacib did not love her. He did not hate her either. He beat her mechanically, as if to relax his nerves from the tension of suffering. He was empty like a vase without a flower. He felt a pain in his heart as if someone were slowly pushing a dagger into it. He felt neither hate nor love. Just pain" (366).

A man who has no purpose, no skill, no hobby, and no ambition (save to outlive his father), could hardly be a pleasant man. I had the queerest idea while I was talking to him—that I was interrogating an empty vase on which the face of the Lord Hull had been lightly stamped.

I pointed to the vase. “Why didn’t you use that one?” “I’ve never put anything in it.” “Why not?” “The first time my third husband invited me to his parents’, it was for an interminable Sunday lunch. I needed a break and stepped from the room.” “I can understand that.” “When I returned, his mother was criticizing me: ‘She’s cold. Too intellectual. So old she’s barren.’ Before he could reply, I told them I was leaving. The next day, he came by my office with that vase. When he said it reminded him of me, I replied, ‘Cold, hard, and empty?’ ” “What did he reply?” “That it was a work of beauty. Full of life, yet able to hold so much. Perfect all by itself.

Restock our furniture. Fill our garages with cars and our rooms with stuff. Our things confirm the fact that we’re alive. Every lamp, every chair, every vase, every cup represents a totem of stability. Of normalcy. But every gap, every empty corner of the house, had the potential to remind us of loss, of the beautiful things we once had and didn’t have now. Till we paused to reflect, and decided to acquire things consciously, we rushed to fill the void. Yet this rush to give evidence of our survival in the form of material possessions carries a high price tag. It crowds out the space in which our highest and unexpected good might organically unfold. So each time we felt the compulsive desire to buy something or make a big decision, we paused. We meditated till we felt comfortable in the mystery. Our friends were puzzled that we were content to have big empty spaces in Marilyn’s house for many months. Yet we took the opportunity to let go of our compulsive need for security and allow the universe to surprise us in synchronous ways.

That first Christmas, Kevin gave me a crystal vase and promised to keep it full of flowers. He did just that until he died. I still have the vase, but since he has died, it has remained empty.

She loves throwing things out. At home alone during the week before she fell over all she did was throw things out – blouses, old dinner-sets, shoes, vases, mugs, sheets and rugs. It excited her to empty cupboards, to wipe down the empty shelves, to take the things we were throwing out to the tip, she loved our trips to the tip, her mind quickened at the prospect of the tip.

In his parents’ home, the furniture and accessories were the real inhabitants, a vase or frame or chair compulsively planted in every corner, as though there was an underlying fear of empty space. He suspected it had to do with his mom’s obsession with not appearing poor, every piece declaring their family’s financial respectability. He felt a sympathetic suffocation for their house

Iparked in Sloan’s driveway and used the key under the flowerpot to let myself in, like I did every day since the funeral two weeks ago. I kept saying I had to get a key made, but I never had the time. Between trying to run Doglet Nation while taking care of what was left of my best friend, my days were full. I had begun to consider moving back in with Sloan. I didn’t see her ever not needing me here. Her mom tapped in sometimes. She did what she could. But she had a sixty-hour-a-week job, and Sloan’s dad lived two hours away. I was the last line of defense. The house smelled like decaying flowers. I set Stuntman down and brought groceries to the kitchen and unbagged it all. Then I started tossing bouquets. She’d be able to start her own flower shop with all the empty vases. Sloan’s bedroom door was closed. I let her sleep. Getting her out of bed before noon was twice the struggle—I’d given it up. I used the earlier hours to do chores. This was my life now. The second half of both our lives had begun. The before was over, and now we lived in the after. I came over every morning as soon as I woke up. Stayed until midnight. And I lived side by side with my velociraptor. We coexisted, taking care of Sloan. I didn’t try to clean up anything that was Brandon’s. I didn’t touch his dirty clothes. I didn’t toss the beer bottle that sat in the garage. The only spark of life I’d seen from her since the funeral was when she’d lost her fucking mind on me because I’d removed and washed the almost two-month-old glass of water from Brandon’s side of the bed.