Epitome Of Beauty Quotes

My memories of him did not do him justice. He's not merely good looking... he's the epitome of male beauty, breathtaking.

Within every bad thing I see good, and, likewise, within every good thing I see bad, however impossible it is to understand it or see it at the time. As humans we are the epitome of life; in life there is always balance. Life and death,male and female, good and bad, beautiful and ugly, win and lose, love and hate. Lost and found.

O the ultimate evil in the temporal world is deeper than any specific evil, such as hatred, or suffering, or death! The ultimate evil is that Time is perpetual perishing, and being actual involves elimination. The nature of evil may be epitomized, therefore, in two simple but horrible and holy propositions: 'Things fade' and 'Alternatives exclude.' Such is His mystery: that beauty requires contrast, and that discord is fundamental to the creation of new intensities of feeling. Ultimate wisdom, I have come to perceive, lies in the perception that the solemnity and grandeur of the universe rise through the slow process of unification in which the diversities of existence are utilized, and nothing, 'nothing' is lost.

her face no longer strange, but a new epitome of beauty.

You look beautiful,” I said honestly. “Scary beautiful. The type of beautiful that guys are afraid to touch. The type of beautiful that makes men want to risk everything for one taste, one touch, one night. Mix that with your brains, and you’re the epitome of why men fight wars.

You are strange. A deep sea of mystery. Tangled mix of starlight and darkness. A beautiful mess, and I am devastatingly drawn to every curve of your mind, every dark scar on your body.You are the epitome of art - dynamic, strange and beautiful.

Schooner and CJ. Like Ken and Barbie come to life. They were the epitome of every out-of-stater’s fantasy of what the quintessential California boy and California girl looked like. Schooner and CJ. They were beautiful and they looked like they belonged together.

The site of the whale fall turns into a decades-long version of “Be Our Guest” from Beauty and the Beast, a debauched, celebratory party where creatures devour the whale “course by course, one by one.” The whale is the epitome of a postmortem benefactor, part of an arrangement as beautiful as it is sensible—an animal dying and donating its body so that others may thrive. “Try the grey stuff, it’s delicious,” the carcass seems to say. The whale, in short, is a valuable necrocitizen.

His word pronounced ‘selfishness’ blessed, the wholesome healthy selfishness that wells from a powerful soul—from a powerful soul to which belongs the high body, beautiful, triumphant, refreshing, around which everything becomes a mirror—the supple, persuasive body, the dancer whose parable and epitome is the self-enjoying soul.

By reading, we will know the minds of great soul.

He was the epitome of virile beauty, but with that undeniable edge of something dark and dangerous beneath.

Scary beautiful. The type of beautiful that guys are afraid to touch. The type of beautiful that makes men want to risk everything for one taste, one touch, one night. Mix that with your brains, and you’re the epitome of why men fight wars.

But unarmed righteousness fostered by love can overcome weapons and power, as demonstrated by the miraculous triumph of Jesus over Caesar, or Gandhi’s and Martin Luther King’s victories through nonviolent resistance. Jesus is a model of martyrdom because he withstood the temptations of power, wealth, and glamour, and remained steadfast even when threatened with crucifixion. Most important of all, Jesus exemplified opposition without hatred or the desire for retaliation; his heart was filled with boundless love and forgiveness. Completely eschewing violence, he epitomized passive resistance, serenely defiant even as he meekly carried his own cross. No matter how profane and pragmatic our world is, we will have passion, miracles, and beauty as long as we have the example of Jesus Christ. In

He took his drink out of the tray, and I noticed he had some ink on his left wrist, coming out from under his sleeve. I wondered how much of his arm was covered. Part of the ink was a word, but I couldn’t see it clearly aside from “hie” at the end. Was it a name? Ruthie? No clue. He had the biggest, most beautiful hands, too, with prominent veins and rough skin. Long fingers. Deacon was the epitome of masculinity.

And why?’ He pauses. ‘I did it because you are the epitome of ordinariness, Ed. And if a guy like you can stand up and do what you did, then maybe everyone can. Maybe everyone can live beyond what they're capable of.’ And that’s when I realize, in a sweet cruel beautiful moment of clarity. I smile, watch a crack in the cement, and speak Audrey and the Doorman. I tell them what I’m telling you now: I’m not the messenger at all, I’m the message.

Rome may fairly be called the nation of the world. And he will not be far out who pronounces the city of the Romans an epitome of the whole earth; for in it you may see every other city arranged collectively, and many also separately; for instance, there you may see the golden city of the Alexandrians, the beautiful metropolis of Antioch, the surpassing beauty of Nicomedia; and besides all these that most glorious of all the cities which Jupiter has ever displayed, I mean Athens.

The nature of evil may be epitomized, therefore, in two simple but horrible and holy propositions: ‘Things fade’ and ‘Alternatives exclude.’ Such is His mystery: that beauty requires contrast, and that discord is fundamental to the creation of new intensities of feeling. Ultimate wisdom, I have come to perceive, lies in the perception that the solemnity and grandeur of the universe rise through the slow process of unification in which the diversities of existence are utilized, and nothing, nothing is lost.

Before she could say anything more, Sabella swung around at the sound of Noah’s Harley purring to life behind the garage. God. He was dressed in snug jeans and riding chaps. A snug dark T-shirt covered his upper body, conformed to it. And he was riding her way. “Is there anything sexier than a man in riding chaps riding a Harley?” Kira asked behind her. “It makes a woman simply want to melt.” And Sabella was melting. She watched as he pulled around the side of the garage then took the gravel road that led to the back of the house. The sound of the Harley purred closer, throbbing, building the excitement inside her. “I think it’s time for me to leave,” Kira said with a light laugh. “Don’t bother to see me out.” Sabella didn’t. She listened as the Harley drew into the graveled lot behind the house and moved to the back door. She opened it, stepping out on the back deck as he swung his legs over the cycle and strode toward her. That long-legged lean walk. It made her mouth water. Made her heart throb in her throat as hunger began to race through her. “The spa treated you well,” he announced as he paused at the bottom of the steps and stared back at her. “Feel like messing your hair up and going out this evening? We could have dinner in town. Ride around a little bit.” She hadn’t ridden on a motorcycle since she was a teenager. She glanced at the cycle, then back to Noah. “I’d need to change clothes.” His gaze flickered over her short jeans skirt, her T-shirt. “That would be a damned shame too,” he stated. “I have to say, Ms. Malone, you have some beautiful legs there.” No one had ever been as charming as Nathan. She remembered when they were dating, how he would just show up, out of the blue, driving that monster pickup of his and grinning like a rogue when he picked her up. He’d been the epitome of a bad boy, and he had been all hers. He was still all hers. “Bare legs and motorcycles don’t exactly go together,” she pointed out. He nodded soberly, though his eyes had a wicked glint to them. “This is a fact, beautiful. And pretty legs like that, we wouldn’t want to risk.” She leaned against the porch post and stared back at him. “I have a pickup, you know.” She propped one hand on her hip and stared back at him. “Really?” Was that avarice she saw glinting in his eyes, or for just the slightest second, pure, unadulterated joy at the mention of that damned pickup? He looked around. “I haven’t seen a pickup.” “It’s in the garage,” she told him carelessly. “A big black monster with bench seats. Four-by-four gas-guzzling alpha-male steel and chrome.” He grinned. He was so proud of that damned pickup. “Where did something so little come up with a truck that big?” he teased her then. She shrugged. “It belonged to my husband. Now, it belongs to me.” That last statement had his gaze sharpening. “You drive it?” “All the time,” she lied, tormenting him. “I don’t have to worry about pinging it now that my husband is gone. He didn’t like pings.” Did he swallow tighter? “It’s pinged then?” She snorted. “Not hardly. Do you want to drive the monster or question me about it? Or I could change into jeans and we could ride your cycle. Which is it?” Which was it? Noah stared back at her, barely able to contain his shock that she had kept the pickup. He knew for a fact there were times the payments on the house and garage had gone unpaid—his “death” benefits hadn’t been nearly enough—almost risking her loss of both during those first months of his “death.” Knowing she had held on to that damned truck filled him with more pleasure than he could express. Knowing she was going to let someone who wasn’t her husband drive it filled him with horror. The contradictor feelings clashed inside him, and he promised himself he was going to spank her for this.

Patience's mental imprecations reached new heights. Mrs. Chadwick had not lied- Vane Cynster was the very epitome of an elegant gentleman. His hair, burnished chestnut several shades darker than her own, glowed softly in the candlelight, wave upon elegant wave sitting perfectly about his head. Even across the room, the strength of his features registered; clear-cut, hard-edged, forehead, nose, jaw, and cheeks appeared sculpted out of rock. Only his lips, long and thin with just a hint of humor to relieve their austerity, and the innate intelligence and, yes, wickedness, that lit his grey eyes, gave any hint of mere mortal personality- all else, including, Patience grudgingly acknowledged, his long, lean body, belonged to a god.

The beauties that one discovers at once are those also of which one most soon grows tired, and for the reason that they are less different from what one already knows. But when those first apparitions have withdrawn, there is left for our enjoyment some passage which its composition, too new and strange to offer anything but confusion to our mind, had made indistinguishable and so preserved intact; and this, which we have been meeting every day and have not guessed it, which has thus been held in reserve for us, which by the sheer force of its beauty has become invisible and has remained unknown, this comes to us last of all. But this also must be the last that we shall relinquish. And we shall love it longer than the rest because we have taken longer to get to love it. The time, moreover, that a person requires—as I required in the matter of this sonata—to penetrate a work of any depth is merely an epitome, a symbol, one might say, of the years, the centuries even that must elapse before the public can begin to cherish a masterpiece that is really new.

All men are in some degree impressed by the face of the world; some men even to delight. This love of beauty is Taste. Others have the same love in such excess, that, not content with admiring, they seek to embody it in new forms. The creation of beauty is Art. The production of a work of art throws a light upon the mystery of humanity. A work of art is an abstract or epitome of the world. It is the result or expression of nature, in miniature. For, although the works of nature are innumerable and all different, the result or the expression of them all is similar and single. Nature is a sea of forms radically alike and even unique. A leaf, a sun-beam, a landscape, the ocean, make an analogous impression on the mind. What is common to them all,—that perfectness and harmony, is beauty. The standard of beauty is the entire circuit of natural forms,—the totality of nature; which the Italians expressed by defining beauty "il piu nell' uno." Nothing is quite beautiful alone: nothing but is beautiful in the whole. A single object is only so far beautiful as it suggests this universal grace. The poet, the painter, the sculptor, the musician, the architect, seek each to concentrate this radiance of the world on one point, and each in his several work to satisfy the love of beauty which stimulates him to produce. Thus is Art, a nature passed through the alembic of man. Thus in art, does nature work through the will of a man filled with the beauty of her first works.

The law that is imposed on us is the law of the confusion of categories. Everything is sexual. Everything is political. Everything is aesthetic. All at once. Everything has acquired a political meaning, especially since 1968; and it is not just everyday life but also madness, language, the media, even desire, that are politicized as they enter the sphere of liberation, the sphere of mass processes. Likewise everything has become sexual, anything can be an object of desire: power, knowledge - everything is interpreted in terms of phantasies, in terms of repression, and sexual stereotypy reigns in every last corner. Likewise, too, everything is now aestheticized: politics is aestheticized in the spectacle, sex in advertising and porn, and all kinds of activity in what is conventionally referred to as culture - a sort of all-pervasive media- and advertising-led semiologization: 'culture degree Xerox' . Each category is generalized to the greatest possible extent, so that it eventually loses all specificity and is reabsorbed by all the other categories. When everything is political, nothing is political any more, the word itself is meaningless. When everything is sexual, nothing is sexual any more, and sex loses its determinants. When everything is aesthetic, nothing is beautiful or ugly any more, and art itself disappears. This paradoxical state of affairs, which is simultaneously the complete actualization of an idea, the perfect realization of the whole tendency of modernity, and the negation of that idea and that tendency, their annihilation by virtue of their very success, by virtue of their extension beyond their own bounds - this state of affairs is epitomized by a single figure: the transpolitical, the transsexual, the transaesthetic.

When the least obvious beauties of Vinteuil’s sonata were revealed to me, already, borne by the force of habit beyond the reach of my sensibility, those that I had from the first distinguished and preferred in it were beginning to escape, to avoid me. Since I was able only in successive moments to enjoy all the pleasures that this sonata gave me, I never possessed it in its entirety: it was like life itself. But, less disappointing than life is, great works of art do not begin by giving us all their best. In Vinteuil’s sonata the beauties that one discovers at once are those also of which one most soon grows tired, and for the same reason, no doubt, namely that they are less different from what one already knows. But when those first apparitions have withdrawn, there is left for our enjoyment some passage which its composition, too new and strange to offer anything but confusion to our mind, had made indistinguishable and so preserved intact; and this, which we have been meeting every day and have not guessed it, which has thus been held in reserve for us, which by the sheer force of its beauty has become invisible and has remained unknown, this comes to us last of all. But this also must be the last that we shall relinquish. And we shall love it longer than the rest because we have taken longer to get to love it. The time, moreover, that a person requires—as I required in the matter of this sonata—to penetrate a work of any depth is merely an epitome, a symbol, one might say, of the years, the centuries even that must elapse before the public can begin to cherish a masterpiece that is really new. So that the man of genius, to shelter himself from the ignorant contempt of the world, may say to himself that, since one’s contemporaries are incapable of the necessary detachment, works written for posterity should be read by posterity alone, like certain pictures which one cannot appreciate when one stands too close to them.

From an essay on early reading by Robert Pinsky: My favorite reading for many years was the "Alice" books. The sentences had the same somber, drugged conviction as Sir John Tenniel's illustrations, an inexplicable, shadowy dignity that reminded me of the portraits and symbols engraved on paper money. The books were not made of words and sentences but of that smoky assurance, the insistent solidity of folded, textured, Victorian interiors elaborately barricaded against the doubt and ennui of a dreadfully God-forsaken vision. The drama of resisting some corrosive, enervating loss, some menacing boredom, made itself clear in the matter-of-fact reality of the story. Behind the drawings I felt not merely a tissue of words and sentences but an unquestioned, definite reality. I read the books over and over. Inevitably, at some point, I began trying to see how it was done, to unravel the making--to read the words as words, to peek behind the reality. The loss entailed by such knowledge is immense. Is the romance of "being a writer"--a romance perhaps even created to compensate for this catastrophic loss--worth the price? The process can be epitomized by the episode that goes with one of my favorite illustrations. Alice has entered a dark wood--"much darker than the last wood": [S]he reached the wood: It looked very cool and shady. "Well, at any rate it's a great comfort," she said as she stepped under the trees, "after being so hot, to get into the--into the--into what?" she went on, rather surprised at not being able to think of the word. "I mean to get under the--under the--under this, you know!" putting her hand on the trunk of the tree. "What does it call itself, I wonder? I do believe it's got no name--why to be sure it hasn't!" This is the wood where things have no names, which Alice has been warned about. As she tries to remember her own name ("I know it begins with L!"), a Fawn comes wandering by. In its soft, sweet voice, the Fawn asks Alice, "What do you call yourself?" Alice returns the question, the creature replies, "I'll tell you, if you'll come a little further on . . . . I can't remember here". The Tenniel picture that I still find affecting illustrates the first part of the next sentence: So they walked on together through the wood, Alice with her arms clasped lovingly round the soft neck of the Fawn, till they came out into another open field, and here the Fawn gave a sudden bound into the air, and shook itself free from Alice's arm. "I'm a Fawn!" it cried out in a voice of delight. "And dear me! you're a human child!" A sudden look of alarm came into its beautiful brown eyes, and in another moment it had darted away at full speed. In the illustration, the little girl and the animal walk together with a slightly awkward intimacy, Alice's right arm circled over the Fawn's neck and back so that the fingers of her two hands meet in front of her waist, barely close enough to mesh a little, a space between the thumbs. They both look forward, and the affecting clumsiness of the pose suggests that they are tripping one another. The great-eyed Fawn's legs are breathtakingly thin. Alice's expression is calm, a little melancholy or spaced-out. What an allegory of the fall into language. To imagine a child crossing over from the jubilant, passive experience of such a passage in its physical reality, over into the phrase-by-phrase, conscious analysis of how it is done--all that movement and reversal and feeling and texture in a handful of sentences--is somewhat like imagining a parallel masking of life itself, as if I were to discover, on reflection, that this room where I am writing, the keyboard, the jar of pens, the lamp, the rain outside, were all made out of words. From "Some Notes on Reading," in The Most Wonderful Books (Milkweed Editions)

But film sometimes flinches at the expertise of actresses, and the sympathetic viewer may come to realize that there was a mute honesty in Novak: she did not conceal the fact that she had been drawn into a world capable of exploiting her. Filming seemed an ordeal for her; it was as if the camera hurt her. But while many hostile to the movies rose in defense of the devastation of Marilyn Monroe—whether or not she was a sentient victim—Novak was stoical, obdurate, or sullen. She allowed very few barriers between that raw self and the audience and now looks dignified, reflective, and responsive to feeling where Monroe appears haphazard and oblivious. Novak is the epitome of every small-town waitress or beauty contest winner who thought of being in the movies. Despite a thorough attempt by Columbia to glamorize her, she never lost the desperate attentiveness of someone out of her depth but refusing to give in. Her performances improve with time so that ordinary films come to center on her; even Vertigo, Hitchcock’s masterpiece, owes some of its power to Novak’s harrowing suspension between tranquility and anxiety.

Thou seekest Lailâ. Yet she manifesteth herself within thee. Thou deemest her to be elsewhere, but elsewhere existeth not. That is a madness, well-known to lovers. So be on your guard, for otherness is the epitome of separation. Seest thou not, how her beauty enfoldeth thee. She disappeareth only if thou refusest part of thee. Come close to me, thou sayst to her, to her who is thine All. And when she loveth thee, she leadeth thee to thyself. Bliss ineffable is the meeting with her. No one reacheth her, who knoweth not essence without form. I have dissimulated about her, After I had truly displayed her through my veil. I hid her from myself, with the garment of mine own existence, And, out of jealousy, I hid her from the envier. Dazzling beauty! Should the light of thy countenance Touch the eyes of a blind man, he would see each particle of dust. She is adorned with every grace pertaining unto beauty. And wherever she appeareth, she is desired by those who love. (Diwân)

A loser like Larry didn’t deserve a fine vintage car like Gloria. The Corvette Stingray had been lovingly restored by a jackass who named his car, yet treated his kids like afterthoughts. I planned to lovingly tear the fucking thing apart. “Have your fun then we’ll torch it and get a beer,” Vaughn said, yawning. “Did anyone see you?” I asked just to annoy him. My question worked like a charm and Vaughn squinted disgusted at me then walked over to a large rock where he sat down and looked at his phone. Swinging the bat, I smashed out the taillight. As painful as it was to tear apart such a beautiful car, Lark needed vengeance. In my mind, I wasn’t hitting the Corvette. I was destroying every person who ever hurt my girl. Every stepfather who hit her, mocked her, and ignored her. I imagined the hung over fucker who let her little brother die. I even pictured her mother who chose the latest fuck over her own kids. I hated them all for every tear Lark ever shed. If I couldn’t hunt them down, I’d destroyed the prized possession of the latest bastard to mistreat my muse. Smashing the windows, the lights, denting the cherry red doors, I trashed the car until I was out of breath. Eventually, I grabbed a blade and tore the tires, just to finish off my rage. “Wuss,” Vaughn said, standing over me as I leaned against the car. “Shame about Gloria. She was a beauty.” “I haven’t been to the batting cage in awhile. I think I pulled something” “Sure,” Vaughn muttered, yanking me to my feet. “Let’s light this little bitch up and get a beer.” “I need to get home to Lark.” “Are you fucking kidding me? I steal this car for you and don’t even get to trash it and you won’t have a beer with me? What an asshole.” “Please, don’t cry,” I said, patting his shoulder. “I don’t have the energy to hold you until your sobs turn to baby hiccups.” Vaughn laughed. “I miss Judd. The guy knew how to drink a beer and he didn’t mind when I pissed myself weeping like a chick.” “The guy is the epitome of patience,” I said, picking up the container of gas. “Or indifference. He always did seem a little bored when you two were talking.” “You looking to have me use that bat on you, is that it?” Grinning, I splashed gasoline on Gloria, careful not to have the liquid hit me. Once the car was thoroughly drenched, Vaughn lit a match.

A SIMPLE BEAUTY The Border Collie is the epitome of all we may ever desire in a dog, a friend and a partner. Honesty, integrity and loyalty are second nature to a collie and they will work until they can go no further. Yet for all their willingness to give they are not submissive, they are proud of their heritage and they do not suffer fools gladly. Look beyond the colour of the coat and the cloak they wear labelled ‘dog’, search inside and reach its soul, for once there you will be trapped in a world of unbelievable love and honesty. You will have found true beauty, for the wonderful qualities within this breed are always there waiting to be unlocked and are what make it truly beautiful. Drink in its grace, speed and stamina, for rarely has so much come together so perfectly in so small a package.

The world is captivated by Hollywood superstars, music artists, and sports personalities. Hollywood is portrayed as the epitome of beauty and fashion capital of the world. Whatever the actors and actresses are wearing dictate the fashion trends and lifestyle being followed by fans in a global scale. The said movie and music characters never fail to amuse and amaze us with their clothes, shoes, bags, and hairstyles. The most popular shoes are the high heel booties studded with gems, gold, and anything sparkling in-between. You certainly wonder how they can perform dance and stage stunts with these booties heels. Women look so attractive donning high heel booties. They get few extra inches in height and look stunning from head to toe. If you are going for mall shopping or walking long distances, stay away from heeled bootiesas your feet will surely get hurt. However, if you are attending special occasions and corporate functions, heel bootiesis the perfect footwear.

You were mistaken, Grandmother,' I finally said softly. 'Sir Bennet is precisely the kind of man who cares a great deal about beauty. Not only is he the epitome of beauty himself, but he appreciates it in others.' 'I beg to differ.' Grandmother gripped the seat cushion as we hit another rut. 'You were correct in saying Sir Bennet appreciates beauty. But he is able to see the beauty in things that other do not. Why else does he have such a large collection of rare and unique artifacts and relics, most of which are chipped, broken, and decrepit?' I gasped at her depreciation of Bennet's valuable collection. 'They're priceless treasures. Each marking or chip makes them even more special.' 'Exactly.' This time her words silenced me for some time. Grandmother was right. Bennet saw the value in the ancient artwork and artifacts in a way most people didn't. He saw past the exterior to the heart of the masterpieces that their creators had crafted. Was it possible he saw me the same way?

Is everything all right, ladies?” Sabrina whirled to face both men as they dismounted. “Oh, my, yes. Everything is fine. Why ever would you think otherwise?” Brinna could just see Lord Thurleah’s face as he arched one eyebrow, his lips appearing to struggle to hold back an amused smile. “Mayhap because Lady Joan has fallen in the snow?” “Fallen?” Lady Sabrina’s genuine horror seemed to suggest ladies simply did not do anything as embarrassing as fall off the back of the wagon into the snow. She gasped, “Oh, nay. You must be mistaken, my lord. Why Lady Joan would never have fallen. She is the epitome of grace and beauty. She is as nimble as a fawn, as graceful as a swan. She is ---“ “Presently lying in the snow,” Lord Thurleah pointed out dryly.

She epitomizes the look French women aspire to: a mix of aristocratic beauty spiced with a dash of modern mum.

I am wonderfully & beautifully created in the image of God.

We all know that Cleopatra was the epitome of beauty, she was famous for her beauty and never-ending youth and that is why many stories have been written about her, among the many secrets of her beauty. One secret was saffron oil. To keep her body beautiful and glowing, she used to mix saffron oil in a tub full of milk for her bath.

You are the epitome of every desire or dream I’ve conceived of since before I can remember, and that is a very specific kind of torment. An unparalleled beauty, a superb lover, a woman of grace and kindness and intellect whom I can only respect and admire. A fantasy in the flesh, here in my house. With my name.

O blessed Trinity, one and only God—Father, Son, and Holy Spirit! You are the eternal glory and highest beatitude of all the saints and the epitome and perfection of all heavenly powers. From you, through you, and in you alone do all things come into being, exist, and reach their end. Make known to me your ways, O Lord, and teach me your paths; for all your ways are beautiful and all your paths are of peace. You have declared that “blessed are the pure of heart” and “blessed are the peace-makers.”2 These two counsels guide us on the pathways that lead to the blessings of the contemplative life.

Her pulchritudinous hazel eyes, was an epitome of defining pain in the most beautiful way.

In Western culture, white womanhood is held up as the epitome of beauty and desire. Part of the machine of size discrimination is stripping white women of that status as punishment for fatness. There is a way in which body positive movements both reject the notion of the body as object while reclaiming it as beautiful by dismantling the definition. Black women’s bodies have always been objects in the social sphere, but are never exalted as beautiful. The fat Black woman’s body has been rendered as an object of service, whether for food, advice, care-taking, or other areas, but it has never been something to aspire to, not a thing of beauty.

At least now he finally had her to himself. He slid an intent gaze over the vision she presented. The pure white of her gown was cinched tightly beneath her breasts before falling gently past the generous curves of her waist and hips. Her bodice was overlaid with lace and fitted securely over her bosom, suggesting the lushness there but revealing only a modest expanse of bare skin. Her slim neck was arched proudly as she endured his perusal. Her gloved hands were clasped in front of her, and her lips, a perfect rosy pink, were shaped into a gentle bow as her gray eyes stared back at him. There was caution in her gaze. She was the epitome of the sweet and modest maiden. And she had agreed to be his. Deep disquiet rolled through him. He had begun something that went way beyond his capabilities. He knew it, but he couldn't stop his forward progression. He wanted her.

She took a long drink and then another before lowering the glass. She thought she heard him give a sound of approval before he turned and claimed a seat in one of the chairs. Her courage strengthened, Lily lifted her chin to look at him only a few feet away and swallowed hard past the knot of doubt lodged in her throat. Dressed in elegant evening wear, he sat with his back stiff and straight despite the plush cushion of the chair. His knees were spread and his feet braced squarely on the floor. His hands, with his long masculine fingers, splayed on the surface of strong thighs. He was the epitome of masculine sophistication and mystery. Dark, enigmatic, handsome, and intense.

she maintained exquisite poise throughout her life, opposed injustice wherever she found it, and commanded everyone’s esteem and attention—especially mine. She was at once tough and beautiful. She could make you feel infinitely welcome but also let you know when you’d pushed her too far. She was impeccably mannered, but she loved to see a whole mess of neighbors, their kids, and random pets tearing across the lawn. To me, she was the epitome of southern w

You are the epitome of grace and beauty

It's only words and words are all I've. I'm a person who enjoys quiet moments, of reflection and Introspection. And over the years I've come to grasp a fundamental truth about myself: "Words are all I have." This realization runs deep, emphasizing the significance of my composing journey. It's an acknowledgment that the very make-up of my being, from couching joy to helming sorrow, relies on my art of words. It's only words, but to me, they hold the essence of my dreams. Each word I speak or write is a reflection of who I am and what I feel. They're not just letters strung together; they're pieces of my soul; shared.. It's only words, but they're my gateway to the world of my innermost thoughts and feelings. With each word expressed, I reveal a piece of my heart, offering glimpses into my fear and mettle. Through the art of language, I try to epitomize, I reveal the sanctuary of my soul, trusting, with the raw beauty of the vulnerabilities. In this self-awareness, I find the strength that accompany the words I choose to wield. They often become the bridge between my inner world and the external reality, giving meaning to my experiences and connecting me with others on a profound level. It's only words. This very phrase encapsulates the essence of my personal journey—a recognition of the weight and wonder held within the words that accompany me through every epoch of my life. Wishes are a strong current guiding us through the river of dreams, gently nudging us towards the shores of our deepest desires. I wish my words dance like poetry and sing like music, leaving a trail of wonder and enchantment in their wake.

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