Engage Perfume Quotes

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I'm thinking that it will be autumn soon," she said, lifting her gaze to his. "Autumn is my absolute favorite season. Spring is overrated. It's soggy and the trees are still bare from winter. Winter drags on and on, and summer is nice, but it's all the same. Autumn is different. I mean, is there any perfume in the world that can compare with the smell of burning leaves?" she asked with an engaging smile. Matt thought she smelled a hell of a lot better than burning leaves, but he let her continue. "Autumn —is thexincgitsinagre changing. It's like dusk." "Dusk?" "Dusk is my favorite time of day, for the same reason. When I was young, I used to walk down our driveway at dusk in the summer and stand at the fence, watching all the cars going by with their headlights on. Everyone had a place to go, something to do. The night was just beginning ..." She trailed off in embarrassment. "That must sound incredibly silly." "It sounds incredibly lonely.
Judith McNaught (Paradise (Paradise, #1))
Like the Baron, Mathilde developed a formula for acting out life as a series of roles—that is, by saying to herself in the morning while brushing her blond hair, "Today I want to become this or that person," and then proceeding to be that person. One day she decided she would like to be an elegant representative of a well-known Parisian modiste and go to Peru. All she had to do was to act the role. So she dressed with care, presented herself with extraordinary assurance at the house of the modiste, was engaged to be her representative and given a boat ticket to Lima. Aboard ship, she behaved like a French missionary of elegance. Her innate talent for recognizing good wines, good perfumes, good dressmaking, marked her as a lady of refinement.
Anaïs Nin (Delta of Venus)
I sipped my hot, sweet, milky tea, feeling myself settle, center. I couldn't possibly stay in a state of high emotion, and there was a lot to get through in the next few days or weeks. Right this minute, I could enjoy this table in a bakery in a small English village. The place was clearing out, and the chelsea bun beckoned. It was a coil of pastry laced with currants and a hint of lemon zest, quite sweet. I gave it the attention it deserved, since a person couldn't be pigging out on pastries and eggs and bacon all the time. Not me, anyway. Unlike my slender mother, I was built of rounder stuff, and I hadn't been able to walk as much as was my habit. In the meantime, the tea was excellent, served in a sturdy silver pot with a mug that didn't seem to match any other mug on the tables. The room smelled of yeast and coffee and cinnamon and the perfume of a woman who had walked by. Light classical music played quietly. From the kitchen came voices engaged in the production of all the goods in the case. A rich sense of well-being spread through me, and I realized that my leg didn't hurt at all.
Barbara O'Neal (The Art of Inheriting Secrets)
These usages are attested in the most formal manner. “I pour upon the earth of the tomb,” says Iphigenia in Euripides, “milk, honey, and wine; for it is with these that we rejoice the dead.”10 Among the Greeks there was in front of every tomb a place destined for the immolation of the victim and the cooking of its flesh.11 The Roman tomb also had its culina, a species of kitchen, of a particular kind, and entirely for the use of the dead.12 Plutarch relates that after the battle of Platæa, the slain having been buried upon the field of battle, the Platæans engaged to offer them the funeral repast every year. Consequently, on each anniversary they went in grand procession, conducted by their first magistrates to the mound under which the dead lay. They offered the departed milk, wine, oil, and perfumes, and sacrificed a victim. When the provisions had been placed upon the tomb, the Platæans pronounced a formula by which they called the dead to come and partake of this repast. This ceremony was still performed in the time of Plutarch, who was enabled to witness the six hundredth anniversary of it.13 A little later, Lucian, ridiculing these opinions and usages, shows how deeply rooted they were in the common mind. “The dead,” says he, “are nourished by the provisions which we place upon their tomb, and drink the wine which we pour out there; so that one of the dead to whom nothing is offered is condemned to perpetual hunger.”14 These are very old forms of belief, and are quite groundless and ridiculous, and yet they exercised empire over man during a great number of generations. They governed men’s minds; we shall soon see that they governed societies even, and that the greater part of the domestic and social institutions of the ancients was derived from this source.
Numa Denis Fustel de Coulanges (The Ancient City: A Study on the Religion, Laws, and Institutions of Greece and Rome)
Good luck. For most of my generation, it would just go to student debt and cocktails. If anything came to me (an impossibility), I would dump it into a poorly managed career in edgy luxury items. You can’t make opera money on perfume that smells like cunts and gasoline. At any rate, I didn’t usually make an appearance beyond the gala. Or, I hadn’t until recently. But Joseph Eisner had promised me a fortune, and now he wouldn’t take my calls. He did, however, like his chamber music. It had been an acquired taste for me. In my distant undergraduate past, when circumstance sat me in front of an ensemble, I spent the first five minutes of each concert deciding which musician I would fuck if I had the chance, and the rest shifting minutely in my seat. I still couldn’t stand Chanel. And while I had learned to appreciate—indeed, enjoy—chamber ensembles, orchestras, and on occasion even the opera, I retained my former habit as a dirty amusement to add some private savor to the proceedings. Tonight, it was the violist, weaving and bobbing his way through Dvořák’s Terzetto in C Major like a sinuous dancer. I prefer the romantics—fewer hair-raising harmonies than modern fare, and certainly more engaging than funereal baroque. The intriguing arrangement of the terzetto kept me engaged, in that slightly detached and floating manner engendered by instrumental performance. Moreover, the woman to my left, one row ahead, was wearing Salome by Papillon. The simple fact of anyone wearing such a scent in public pleased me. So few people dared wear anything at all these days, and when they did, it was inevitably staid: an inoffensive classic or antiseptic citrus-and-powder. But this perfume was one I might have worn myself. Jasmine, yes, but more indolic than your average floral. People sometimes say it smells like dirty panties. As the trio wrapped up for intermission, I took a steadying breath of musk and straightened my lapels. The music was only a means to an end, after all.
Lara Elena Donnelly (Base Notes)
AS their peculiar perfume is the chief association with spices, so sorcery is allied in every memory to gypsies. And as it has not escaped many poets that there is something more strangely sweet and mysterious in the scent of cloves than in that of flowers, so the attribute of inherited magic power adds to the romance of these picturesque wanderers. Both the spices and the Romany come from the far East—the fatherland of divination and enchantment. The latter have been traced with tolerable accuracy, If we admit their affinity with the Indian Dom and Domar, back to the p. 2 threshold of history, or well-nigh into prehistoric times, and in all ages they, or their women, have been engaged, as if by elvish instinct, in selling enchant. merits, peddling prophecies and palmistry, and dealing with the devil generally ill a small retail way. As it was of old so it is to-day— Ki shan i Romani— Adoi san' i chov'hani. Wherever gypsies go, There the witches are, we know.
Charles Godfrey Leland (THREE Collections of Charles Godfrey Leland: GYPSY SORCERY and FORTUNE TELLING, ETRUSCAN ROMAN, ARADIA or THE GOSPEL OF THE WITCHES (Annotated History of Charles Godfrey Leland))
In this latter sense the Buddha has defined trivial talk. He said: If the mind of a monk inclines to talking, he should think thus: “I shall not engage in the low kind of talk that is vulgar, worldly and unprofitable; that does not lead to detachment, dispassionateness, cessation, tranquility, direct knowledge, enlightenment, Nirvana; namely talk about kings, thieves, ministers, armies, famine and war; about eating, drinking, clothing and lodgings; about garlands, perfumes, relatives, vehicles, villages, towns, cities and countries; about women and wine, the gossip of the street and the well, talk about ancestors, about various trifles, tales about the origins of the world and the sea, talk about things being so or otherwise, and similar matters.” Thus he has clear comprehension. “But talk that is helpful for leading the austere life, useful for mental clarity, that leads to complete detachment, dispassionateness, cessation, tranquility, direct knowledge, enlightenment and Nibbana; that is talk on frugality, contentedness, solitude, seclusion, application of energy, virtue, concentration, wisdom, deliverance and on the knowledge and vision bestowed by deliverance—in such talk shall I engage.” Thus he has clear comprehension.
Erich Fromm (The Art of Being)
Not long ago, I saw a woman in a drugstore pick something up in her hand, delighted, and hold it out toward her husband. It was just a perfume bottle, but the shape of it was lovely. “See this, hon?” she said. And the man said, “Yeah,” but he had his back to her and was walking down the aisle away from her. The woman put the thing back, diminished. Do you know what I mean, Martin? I think this comes from mistakes so many women make early on in a marriage. When we got engaged, I stopped driving my own car. I rode shotgun every time we were together. The default settings on the mirrors, on the closeness of the seat to the wheel, they were yours. Remember when that car caught on fire, the engine? Maybe it was auto grief. Don’t think I’m crazy, Martin. I have only gotten out my shovel, to dig a bit. I’m just pointing out what I uncover. You can look or not. I want the difference to be that I don’t put the thing back on the shelf because you say it’s not worth seeing.
Elizabeth Berg (The Pull of the Moon)
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