Evanescence Love Quotes

I want to love you simply, in words not spoken: tinder to the flame which transforms it to ash I want to love you simply, in signs not expressed: clouds to the rain which make them evanescent (Aku Ingin-I Want)

How evanescent those loves and friendships seem at this distance in time…We move on, make new attachments. We grow old. But sometimes, we hanker for old friendships, the old loves. Sometimes I wish I was young again. Or that I could travel back in time and pick up the threads. Absent so long, I may have stopped loving you, friends; but I will never stop loving the Day I loved you.

Let's look at the bright side of life, even if love has only been a long shot and become evanescent, it may still inspire us if we have the gift to savor the fragrance of the treasured moments of togetherness from memorable times that furtively slipped away. ("Waiting for the smoke signals")

It's dark, spooky, and I LOVE it!

This good fellowship - camaraderie - usually occurring through the similarity of pursuits is unfortunately seldom super-added to love between the sexes, because men and women associate, not in their labors but in their pleasures merely. Where, however, happy circumstances permit its development, the compounded feeling proves itself to be the only love which is strong as death - that love which many waters cannot quench, nor the floods drown, besides which the passion usually called by the name is as evanescent as steam.

Writing sometimes feels frivolous and sometimes sacred, but memory is one of my strongest muses. I serve her with my words. So long as people read, those we love survive however evanescently. As do we writers, saying with our life's work, Remember. Remember us. Remember me.

And, ah! his castle. The faery solitude of the place, with its turrets of mistly blue, its courtyard, its spiked gate, his castle that lay on the very bosom of the sea with seabirds mewing about its attics, the casements opening onto the green and purple, evanescent departures of the ocean, cut off by the tide from land for half a day . . . that castle, at home neither on the land nor on the water, a mysterious, amphibious place, contravening the materiality of both earth and waves, with the melancholy of a mermaiden who perches on her rocks and waits, endlessly, for a lover who had drowned far away, long ago. That lovely, sad, sea-siren of a place.

And just like that, he's dead. My one love, my soul mate, my forever, is dead.

I swear love is the most powerful emotion thats ever existed. It owns people, devours them, tears them open and bleeds them out from the inside, making them defenseless to everything. Hate is the same way. Hate takes your levelheadedness and even your sanity away from you.

Writing is a futile attempt to preserve what disappears moment by moment. All that remains of my mother is what I remember and what I have written for and about her. Eventually that is all that will remain of [my husband] and me. Writing sometimes feels frivolous and sometimes sacred, but memory is one of my strongest muses. I serve her with my words. So long as people read, those we love survive however evanescently. As do we writers, saying with our life's work, Remember. Remember us. Remember me.

I feel that from the very beginning life played a terrible conjurer’s trick on me. I lost faith in it. It seems to me that every moment now it is playing tricks on me. So that when I hear love I am not sure it is love, and when I hear gaiety I am not sure it is gaiety, and when I have eaten and loved and I am all warm from wine, I am not sure it is either love or food or wine, but a strange trick being played on me, an illusion, slippery and baffling and malicious, and a magician hangs behind me watching the ecstasy I feel at the things which happen so that I know deep down it is all fluid and escaping and may vanish at any moment. Don’t forget to write me a letter and tell me I was here, and I saw you, and loved you, and ate with you. It is all so evanescent and I love it so much, I love it as you love the change in the days.

Theirs was that substantial affection which arises (if any arises at all) when the two who are thrown together begin first by knowing the rougher sides of each other's character, and not the best till further on, the romance growing up in the interstices of a mass of hard prosaic reality. This good-fellowship—camaraderie—usually occurring through similarity of pursuits, is unfortunately seldom superadded to love between the sexes, because men and women associate, not in their labours, but in their pleasures merely. Where, however, happy circumstance permits its development, the compounded feeling proves itself to be the only love which is strong as death—that love which many waters cannot quench, nor the floods drown, beside which the passion usually called by the name is evanescent as steam.

I'll never give up. Gemma is my soul mate, my other half, the only girl Ive ever loved. Weve been through hell together. Hell, weve died and then came back to life because of our love

And even if something had once been committed to paper, did it mean that it was still true? Always true? Unlike the relative permanence of paint, words were temporal. You uttered them and they evanesced, but if you wrote them, they remained, though whether the written word was any more truthful than the spoken was a mystery to her. Only paint was honest.

From the night into his high-walled room there came, persistently, that evanescent and dissolving sound - something the city was tossing up and calling back again, like a child playing with a ball. In Harlem, the Bronx, Gramercy Park, and along the water-fronts, in little parlors or on pebble-strewn, moon-flooded roofs, a thousand lovers were making this sound, crying little fragments of it into the air. All the city was playing with this sound out there in the blue summer dark, throwing it up and calling it back, promising that, in a little while, life would be beautiful as a story, promising happiness - and by that promise giving it. It gave love hope in its own survival. It could do no more.

They spoke very little of their mutual feeling; pretty phrases and warm expressions being probably unnecessary between such tried friends. Theirs was that substantial affection which arises (if any arises at all) when the two who are thrown together begin first by knowing the rougher sides of each other's character, and not the best till further on, the romance growing up in the interstices of a mass of hard prosaic reality. This good-fellowship—camaraderie—usually occurring through similarity of pursuits, is unfortunately seldom superadded to love between the sexes, because men and women associate, not in their labours, but in their pleasures merely. Where, however, happy circumstance permits its development, the compounded feeling proves itself to be the only love which is strong as death—that love which many waters cannot quench, nor the floods drown, beside which the passion usually called by the name is evanescent as steam.

Glanced up and caught Ammu's gaze. Centuries telescoped into one evanescent moment. History was wrong-footed, caught off guard. Sloughed off like an old snakeskin. Its marks , its scars its wouns from old wars and the walking backwards days all fell away. In its abscence it left an aura, a palpable shimmering that was as plain as water in a river or the sun in the sky. As plain to feel the heat on a hot day, or the tug of a fish on a taut line. So obvious that no-one noticed. In that brief moment, Velutha looked up and saw things that he hadn't seen before. Things that had been out of bounds so far, obscured by histor's blinkers. ...This knowing slid into him cleanly, like the sharp edge of a knife. Cold and hot at once. It only took a moment. Ammu saw that he saw. She looked away. He did too. History's fiends returned to claim them. To rewrap them in its old scarred pelt and drag them back to where they really lived. Where the Love Laws lay down who should be loved. And how. And how much.

Just because something is invisible doesn't mean it isn't there. At any given time, there are a host of invisibles floating among us. There are clairvoyants to see ghosts; but who sees the invisible emotions, the unrecorded events? Who is that sees love, more evanescent than any ghost, let alone can catch it? Who are you tell me that I don't know what love is?

A dozen or more boats on the lake swung their rosy and moon–like lanterns low on the water, that reflected as from a fire. In the distance, the steamer twanged and thrummed and washed with her faintly–splashing paddles, trailing her strings of coloured lights, and occasionally lighting up the whole scene luridly with an effusion of fireworks, Roman candles and sheafs of stars and other simple effects, illuminating the surface of the water, and showing the boats creeping round, low down. Then the lovely darkness fell again, the lanterns and the little threaded lights glimmered softly, there was a muffled knocking of oars and a waving of music. Gudrun paddled almost imperceptibly. Gerald could see, not far ahead, the rich blue and the rose globes of Ursula’s lanterns swaying softly cheek to cheek as Birkin rowed, and iridescent, evanescent gleams chasing in the wake. He was aware, too, of his own delicately coloured lights casting their softness behind him.

I think about everything; good and bad. I think about the pain Ive experienced, the fear, the love, the passion, the kisses, the friendships. The way it feels when Alex touches me. I think about what it took to get there and I think about how briefly it stayed before it vanished. Its a moment in my life that Ill remember forever, yet, I wont. Because itll never actually happen. All I do is nod, but its enough that he understands.

Evanescent grace, you vanish as a vapor does, or love in open air.

After our last child left for college, I struggled. The full life it had taken years, decades, to build had vanished, as evanescent as the mist. They all came home for Thanksgiving, and I—who had spent so much of their childhood despairing that I would never again have a moment to myself—followed them around like a girl spurned but loving still, ashamed. They are building their own lives now, and when they left home to return to them, I took myself to the woods. Because sometimes the only cure for homesickness is to enlarge the definition of home.

There are still souls for whom love is the contact of two poetries, the fusion of two reveries. The epistolary novel expresses love in a beautiful emulation of images and metaphors. To tell a love, one must write. One never writes too much. How many lovers, upon returning home from the tenderest of rendezvous, open their writing desks! Love is never finished expressing itself, and it expresses itself better the more poetically it is dreamed. The reveries of two solitary souls prepare the sweetness of loving. A realist passion will see nothing there but evanescent formulas. But just the same it is no less true that great passions are prepared by great reveries. The reality of love is mutilated when it is detached from all its unrealness.

Lose Yourself—Eminem Monsters—Shinedown Dear God—XTC Down with the Sickness—Disturbed Love and War—Fleurie Headstrong—Trapt I Want It That Way—Backstreet Boys Sober—Tool Angels Fall—Breaking Benjamin Black is the Soul—Korn Polyamorous—Breaking Benjamin Best Thing I Never Had—Beyoncé Bed of Lies—Nicki Minaj ft Skylar Grey Apologize—Timbaland ft OneRepublic Spastik—Plastikman Basiel—Amelie Lens Oh Bondage! Up Yours!—X Ray Spex Open Your Eyes—Disturbed Bring Me to Life—Evanescence So What—Pink Light My Fire—The Doors

This is the exact scenario two post-Evanescence goth podcasters will one day use for their cold open.

I wanted to go to her, but not yet. What did you say to someone who had just lost a loved one? A mother. I had not earned the right to empathize with such loss. I did not have the words, nor the true emotions, as I had never had such a thing as a mother., I had never experienced anything the way she had. It was clear to me what I was in that moment –- a product of the Council.

But I believe that the grand unifying theory that explains the paradox of tragedy is (like most such theories) deceptively simple: We don’t actually welcome tragedy per se. What we like are sad and beautiful things—the bitter together with the sweet. We don’t thrill to lists of sad words, for example, or slide shows of sad faces (researchers have actually tested this). What we love is elegiac poetry, seaside cities shrouded in fog, spires reaching through the clouds. In other words: We like art forms that express our longing for union, and for a more perfect and beautiful world. When we feel strangely thrilled by the sorrow of “Moonlight Sonata,” it’s the yearning for love that we’re experiencing—fragile, fleeting, evanescent, precious, transcendent love. The idea of longing as a sacred and generative force seems very odd in our culture of normative sunshine. But it’s traveled the world for centuries, under many different names, taking many different forms.

I've been looking in the mirror for so long. That I've come to believe my souls on the other side. Oh the little pieces falling, shatter. Shards of me, To sharp to put back together. To small to matter, But big enough to cut me into so many little pieces. If I try to touch her, And I bleed, I bleed, And I breathe, I breathe no more. Take a breath and I try to draw from my spirits well. Yet again you refuse to drink like a stubborn child. Lie to me, Convince me that I've been sick forever. And all of this, Will make sense when I get better. I know the difference, Between myself and my reflection. I just can't help but to wonder, Which of us do you love. So I bleed, I bleed, And I breathe, I breathe now... Bleed, I bleed, And I breathe, I breathe, I breathe- I breathe no more.

There is one true property of romantic love: it never stays - evanescence is a part of the nature of an infatuated love state. But be careful trying to rush its demise. Don't try to joust with love any more than you would with powerful religious beliefs - those are duels you cannot win.

Alexander looked her over up and down. Tatiana exuded a porous, evanescent, yet everlasting warmth; her very presence, her satin face in his palm made his back hurt less. Her radiant eyes, her flushed cheeks, her slightly parted loving lips…Alexander stared at her, his eyes wide open, his soul wide open, his adoring heart hurting exquisitely. “You are an angel sent from heaven, aren’t you?” An electric smile lit up her face. “And you don’t know the half of it,” she whispered. “You don’t know what your Tania has been cooking up here.” In her delight she nearly squealed. “What have you been cooking up? No, don’t sit up. I want to feel your face.” “Shura, I can’t. I’m practically on top of you. We need to be very careful.” The smile faded an octave. “Dimitri walks around here all the time. Walks in, out, checks on you, leaves, comes back. What’s he worried about? He was quite surprised to find me here.” “He’s not the only one. How did you get here?” “All part of my plan, Alexander.” “What plan is this, Tatiana?” She whispered, “To be with you when I die of old age.” “Oh, that plan.

I wanted to go to her, but not yet. What did you say to someone who had just lost a loved one? A mother. I had not earned the right to empathize with such loss. I did not have the words, nor the true emotions, as I had never had such a thing as a mother., I had never experienced anything the way she had. It was clear to me what I was in that moment –- a product of the Council.

Perfect by nature Icons of self indulgence Just what we all need More lies about a world that Never was and never will be Have you no shame don't you see me You know you've go everybody fooled Look here she comes now Bow down and stare in wonder Oh how we love you No flaws when you're pretending But now I know she Never was and never will be You don't know how you've betrayed me And somehow you've got everybody fooled Without the mask where will you hide Can't find yourself lost in your lie I know the truth now I know who you are And I don't love you anymore Never was and never will be You don't know how you've betrayed me And somehow you have everybody fooled It never was and never will be You're not real and you can't save me Somehow now you're everybody's fool

Examine for a moment an ordinary mind on an ordinary day. The mind receives a myriad impressions - trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant show of innumerable atoms; and as they fall, as they shape themselves into the life of Monday or Tuesday, they accent falls differently from of old; the moment of importance came not here but there; so that, if a writer were a free man and not a slave, if he could write what he chose, not what he must, if he could base his work upon his own feeling and not upon convention, there would be no plot, no comedy, no tragedy, no love interest or catastrophe in the accepted style, and perhaps not a single button sewn on as the Bond Street tailors would have it. Life is not a series of gig lamps symmetrically arranged; life is a luminous halo, a semi-transparent envelope surrounding us from the beginning to the end.

To expect an addict to give up her drug is like asking the average person to imagine living without all her social skills, support networks, emotional stability and sense of physical and psychological comfort. Those are the qualities that, in their illusory and evanescent way, drugs give the addict. People like Serena and Celia and the others whose portraits have appeared in this book perceive their drugs as their “rock and salvation.” Thus, for all the valid reasons we have for wanting the addict to “just say no,” we first need to offer her something to which she can say “yes.” We must provide an island of relief. We have to demonstrate that esteem, acceptance, love and humane interaction are realities in this world, contrary to what she, the addict, has learned all her life. It is impossible to create that island for people unless they can feel secure that their substance dependency will be satisfied as long as they need it.

Letters blend to give rise to words  Like colors pave way for the birth of million shades! Evanescence reminisces sepia! Memory takes back to black and white! Music pops hot pink! Dance rocks wine red! Marvelous is miraculous as the indigo! Magnificent is magnanimous like Russian red! Splendid is classy like arctic blue! Resplendent inspires like  strawberry pink! Flamboyance is flowery like fuchsia! Flawless is perfect like flamingo! Extraordinary stands out like lime yellow! Peculiar is unique like cyan! Pleasant pleases like periwinkle! Soothing soothes like lemonade! Opulent glitters gold! Spectacular shimmers silver! Nice is as mild as dulce de leche! Attractive dazzles onyx! Powerful is headstrong like tangerine! Puissance stupefies like scarlet red! Mellifluence is dissolving, like lavender! Sonorous sounds magenta! Lovely cutely blushes! Sweet is peachy! Richness is wealthy like lush green! Poverty is brown as in flower wilt! Candid is frank as candy red! Altruism is selfless like parmesan! But, BEAUTY IS IRIDESCENT! Which

But any picture could deal with the problem of light. The problem with this picture is greater than that of reflective surfaces - it's one of death. You invite a profound theme into your work when you choose cut flowers. You are talking about mortality and time moving forward. You are saying that everything, everything we see and experience and love happens uniquely and happens only once. When you take a picture of a flower in a glass you are, paradoxically, capturing evanescence. You are also showing the indifference of Nature. There is no mourning in a flower photograph, only a shrugging of the shoulders.

Death shall reign bliss over the abyss to those who fear the end. All those who are dying will travel only once through the desolate. Dim it will be for the souls in gray, not ready to evanesce from this world. Grief will cling to ice, limbs will stiffen as timber, voices will go unheard through a death rattle, and our minds will turn into eternal shadow. All of the love you carry will stand on a thread of pinhole conviction. Your lifeless body will be entombed in your graveyard of disbelief. A path to an empty conscience is the only one that leads to naught. In the spiritual dimension after demise, we are the paradise lost that has disappeared.

But I believe that the grand unifying theory that explains the paradox of tragedy is (like most such theories) deceptively simple: We don’t actually welcome tragedy per se. What we like are sad and beautiful things—the bitter together with the sweet. We don’t thrill to lists of sad words, for example, or slide shows of sad faces (researchers have actually tested this). What we love is elegiac poetry, seaside cities shrouded in fog, spires reaching through the clouds. In other words: We like art forms that express our longing for union, and for a more perfect and beautiful world. When we feel strangely thrilled by the sorrow of “Moonlight Sonata,” it’s the yearning for love that we’re experiencing—fragile, fleeting, evanescent, precious, transcendent love.

Well, -beauty that you love so much—is an illusion of the remaining part, the excessive part, which has been consigned to knowledge. It is an illusion of the “other way to bear life” which you mentioned. One could say that in fact there is no such thing as beauty. What makes the illusion so strong, what imparts it with such a power of reality, is precisely knowledge. From the point of view of knowledge, beauty is never a consolation. It may be a woman, it may be one's wife, but it's never a consolation. Yet from the marriage between this beautiful thing which is never a consolation, on the one hand, and knowledge, on the other, something is born, It is as evanescent as a bubble and utterly hopeless. Yet something is born. That something is what people call art!

Let me reason with the supporters of this opinion, who have any knowledge of human nature, do they imagine that marriage can eradicate the habitude of life? The woman who has only been taught to please, will soon find that her charms are oblique sun-beams, and that they cannot have much effect on her husband's heart when they are seen every day, when the summer is past and gone. Will she then have sufficient native energy to look into herself for comfort, and cultivate her dormant faculties? or, is it not more rational to expect, that she will try to please other men; and, in the emotions raised by the expectation of new conquests, endeavour to forget the mortification her love or pride has received? When the husband ceases to be a lover—and the time will inevitably come, her desire of pleasing will then grow languid, or become a spring of bitterness; and love, perhaps, the most evanescent of all passions, gives place to jealousy or vanity.

But I believe that the grand unifying theory that explains the paradox of tragedy is (like most such theories) deceptively simple: We don’t actually welcome tragedy per se. What we like are sad and beautiful things—the bitter together with the sweet. We don’t thrill to lists of sad words, for example, or slide shows of sad faces (researchers have actually tested this). What we love is elegiac poetry, seaside cities shrouded in fog, spires reaching through the clouds. In other words: We like art forms that express our longing for union, and for a more perfect and beautiful world. When we feel strangely thrilled by the sorrow of “Moonlight Sonata,” it’s the yearning for love that we’re experiencing—fragile, fleeting, evanescent, precious, transcendent love. The idea of longing as a sacred and generative force seems very odd in our culture of normative sunshine. But it’s traveled the world for centuries, under many different names, taking many different forms. Writers and artists, mystics and philosophers, have long tried to give voice to it. García Lorca called it the “mysterious power which everyone senses and no philosopher explains.

Dear troubles, my amigo Accolades to your valour and vigour in battling Me. Though each time you have lost the crusade, your persistent effort in drubbing me down with tiresome regularity, is remarkable. Sadly your trials have all been clunkers, and your lingering rage at being unceremoniously busted by snippy woman storm trooper inside me to boot is axiomatic. I know it’s not your fault, fighting me is not a cake walk. You can’t quash my acquaintance with the strategic moves you make, or the unreal-fleeting bonds you break. I am rather familiar with aimless, exasperated steps you take and that Duchenne smile you fake. I can, for sure, guess any rare cryptic word you say or sinister cat and mouse game you play. My dear old stinging Gordian’s Knot, I love the way you have always tailed me, but to your dismay I guess I was always ahead of the curve. My love, my darling, quandary little Catch-22, I suggest you kill me now, shoot me now, show no mercy bury me deep, deport me to hellhole, coz I have right to die. Hang me and close me in a gas chamber, entomb me and put my soul in a bottle, cap it tight and throw it in the deep sea. Get rid of me else if slightest of me comes back then my lovely, ‘stumbling hornets nest’, you are bound to fizzle out and evanesce into nothingness. Run, I say, run now and never return, you know I am kinda tried and tested………..

It is a pity that the beautiful Christian metaphor “salvation” has come to be so hackneyed and therefore so despised. It has been turned into a vapid synonym for “piety”—not even a truly ethical concept. “Salvation” is something far beyond ethical propriety. The word connotes a deep respect for the fundamental metaphysical reality of man. It reflects God’s own infinite concern for man, God’s love and care for man’s inmost being, God’s love for all that is His own in man, His son. It is not only human nature that is “saved” by the divine mercy, but above all the human person. The object of salvation is that which is unique, irreplaceable, incommunicable—that which is myself alone. This true inner self must be drawn up like a jewel from the bottom of the sea, rescued from confusion, from indistinction, from immersion in the common, the nondescript, the trivial, the sordid, the evanescent. We must be saved from immersion in the sea of lies and passions which is called “the world.” And we must be saved above all from that abyss of confusion and absurdity which is our own worldly self. The person must be rescued from the individual. The free son of God must be saved from the conformist slave of fantasy, passion and convention. The creative and mysterious inner self must be delivered from the wasteful, hedonistic and destructive ego that seeks only to cover itself with disguises. To be “lost” is to be left to the arbitrariness and pretenses of the contingent ego, the smoke-self that must inevitably vanish. To be “saved” is to return to one’s inviolate and eternal reality and to live in God.

It is natural for a man to desire what he reckons better than that which he has already, and be satisfied with nothing which lacks that special quality which he misses. Thus, if it is for her beauty that he loves his wife, he will cast longing eyes after a fairer woman. If he is clad in a rich garment, he will covet a costlier one; and no matter how rich he may be he will envy a man richer than himself. Do we not see people every day, endowed with vast estates, who keep on joining field to field, dreaming of wider boundaries for their lands? Those who dwell in palaces are ever adding house to house, continually building up and tearing down, remodeling and changing. Men in high places are driven by insatiable ambition to clutch at still greater prizes. And nowhere is there any final satisfaction, because nothing there can be defined as absolutely the best or highest. But it is natural that nothing should content a man's desires but the very best, as he reckons it. Is it not, then, mad folly always to be craving for things which can never quiet our longings, much less satisfy them? No matter how many such things one has, he is always lusting after what he has not; never at peace, he sighs for new possessions. Discontented, he spends himself in fruitless toil, and finds only weariness in the evanescent and unreal pleasures of the world. In his greediness, he counts all that he has clutched as nothing in comparison with what is beyond his grasp, and loses all pleasure in his actual possessions by longing after what he has not, yet covets. No man can ever hope to own all things. Even the little one does possess is got only with toil and is held in fear; since each is certain to lose what he hath when God's day, appointed though unrevealed. shall come. But the perverted will struggles towards the ultimate good by devious ways, yearning after satisfaction, yet led astray by vanity and deceived by wickedness. Ah, if you wish to attain to the consummation of all desire, so that nothing unfulfilled will be left, why weary yourself with fruitless efforts, running hither and thither, only to die long before the goal is reached? It is so that these impious ones wander in a circle, longing after something to gratify their yearnings, yet madly rejecting that which alone can bring them to their desired end, not by exhaustion but by attainment. They wear themselves out in vain travail, without reaching their blessed consummation, because they delight in creatures, not in the Creator. They want to traverse creation, trying all things one by one, rather than think of coming to him who is Lord of all. And if their utmost longing were realized, so that they should have all the world for their own, yet without possessing him who is the Author of all being, then the same law of their desires would make them contemn what they had and restlessly seek him whom they still lacked, that is, God himself.

All beauty calls you to me, and you seem, Past twice a thousand miles of shifting sea, To reach me. You are as the wind I breathe Here on the ship's sun-smitten topmost deck, With only light between the heavens and me. I feel your spirit and I close my eyes, Knowing the bright hair blowing in the sun, The eager whisper and the searching eyes. Listen, I love you. Do not turn your face Nor touch me. Only stand and watch awhile The blue unbroken circle of sea. Look far away and let me ease my heart Of words that beat in it with broken wing. Look far away, and if I say too much, Forget that I am speaking. Only watch, How like a gull that sparking sinks to rest, The foam-crest drifts along a happy wave Toward the bright verge, the boundary of the world. I am so weak a thing, praise me for this, That in some strange way I was strong enough To keep my love unuttered and to stand Altho' I longed to kneel to you that night You looked at me with ever-calling eyes. Was I not calm? And if you guessed my love You thought it something delicate and free, Soft as the sound of fir-trees in the wind, Fleeting as phosphorescent stars in foam. Yet in my heart there was a beating storm Bending my thoughts before it, and I strove To say too little lest I say too much, And from my eyes to drive love’s happy shame. Yet when I heard your name the first far time It seemed like other names to me, and I Was all unconscious, as a dreaming river That nears at last its long predestined sea; And when you spoke to me, I did not know That to my life’s high altar came its priest. But now I know between my God and me You stand forever, nearer God than I, And in your hands with faith and utter joy I would that I could lay my woman’s soul. Oh, my love To whom I cannot come with any gift Of body or of soul, I pass and go. But sometimes when you hear blown back to you My wistful, far-off singing touched with tears, Know that I sang for you alone to hear, And that I wondered if the wind would bring To him who tuned my heart its distant song. So might a woman who in loneliness Had borne a child, dreaming of days to come, Wonder if it would please its father’s eyes. But long before I ever heard your name, Always the undertone’s unchanging note In all my singing had prefigured you, Foretold you as a spark foretells a flame. Yet I was free as an untethered cloud In the great space between the sky and sea, And might have blown before the wind of joy Like a bright banner woven by the sun. I did not know the longing in the night– You who have waked me cannot give me sleep. All things in all the world can rest, but I, Even the smooth brief respite of a wave When it gives up its broken crown of foam, Even that little rest I may not have. And yet all quiet loves of friends, all joy In all the piercing beauty of the world I would give up– go blind forevermore, Rather than have God blot from out my soul Remembrance of your voice that said my name. For us no starlight stilled the April fields, No birds awoke in darking trees for us, Yet where we walked the city’s street that night Felt in our feet the singing fire of spring, And in our path we left a trail of light Soft as the phosphorescence of the sea When night submerges in the vessel’s wake A heaven of unborn evanescent stars.

All beauty calls you to me, and you seem” All beauty calls you to me, and you seem, Past twice a thousand miles of shifting sea, To reach me. You are as the wind I breathe Here on the ship's sun-smitten topmost deck, With only light between the heavens and me. I feel your spirit and I close my eyes, Knowing the bright hair blowing in the sun, The eager whisper and the searching eyes. Listen, I love you. Do not turn your face Nor touch me. Only stand and watch awhile The blue unbroken circle of the sea. Look far away and let me ease my heart Of words that beat in it with broken wing. Look far away, and if I say too much, Forget that I am speaking. Only watch, How like a gull that sparkling sinks to rest, The foam-crest drifts along a happy wave Toward the bright verge, the boundary of the world. I am so weak a thing, praise me for this, That in some strange way I was strong enough To keep my love unuttered and to stand Altho' I longed to kneel to you that night You looked at me with ever-calling eyes. Was I not calm? And if you guessed my love You thought it something delicate and free, Soft as the sound of fir-trees in the wind, Fleeting as phosphorescent stars in foam. Yet in my heart there was a beating storm Bending my thoughts before it, and I strove To say too little lest I say too much, And from my eyes to drive love's happy shame. Yet when I heard your name the first far time It seemed like other names to me, and I Was all unconscious, as a dreaming river That nears at last its long predestined sea; And when you spoke to me, I did not know That to my life's high altar came its priest. But now I know between my God and me You stand forever, nearer God than I, And in your hands with faith and utter joy I would that I could lay my woman's soul. Oh, my love To whom I cannot come with any gift Of body or of soul, I pass and go. But sometimes when you hear blown back to you My wistful, far-off singing touched with tears, Know that I sang for you alone to hear, And that I wondered if the wind would bring To him who tuned my heart its distant song. So might a woman who in loneliness Had borne a child, dreaming of days to come, Wonder if it would please its father's eyes. But long before I ever heard your name, Always the undertone's unchanging note In all my singing had prefigured you, Foretold you as a spark foretells a flame. Yet I was free as an untethered cloud In the great space between the sky and sea, And might have blown before the wind of joy Like a bright banner woven by the sun. I did not know the longing in the night-- You who have waked me cannot give me sleep. All things in all the world can rest, but I, Even the smooth brief respite of a wave When it gives up its broken crown of foam, Even that little rest I may not have. And yet all quiet loves of friends, all joy In all the piercing beauty of the world I would give up--go blind forevermore, Rather than have God blot from out my soul Remembrance of your voice that said my name. For us no starlight stilled the April fields, No birds awoke in darkling trees for us, Yet where we walked the city's street that night Felt in our feet the singing fire of spring, And in our path we left a trail of light Soft as the phosphorescence of the sea When night submerges in the vessel's wake A heaven of unborn evanescent stars.

People are so starved for love that the usual manipulations really do work - the fleeting touches, the vague statements of feeling and devotion, the powerful embraces as passionate in parting as in their initial entanglement. Any soap opera could show you that love is most tantalizing in its evanescence. Its nature is to shift constantly through states of being—condensing into dense beads of sweat on hot skin only to disappear into the air, thick with promises of something more, of something better simply because it has yet to come.

Feelings and emotions as well as thoughts and opinions are evanescent; they change over time because they reflect our transient being. Feelings and emotions are judgments that spring from the hidden source of the unconscious mind, and only take on power whenever the conscious mind acknowledges them, and then chooses to convey an idea in some format that shares the rhythm of a person’s own being with another person. Unuttered thoughts and inexpressible feelings experience a short half-life. Without proper nourishment, voiceless thoughts wither and indefinable feelings wane. Lucid thoughts and inexpressible feelings form imperceptible currents that propel us along in our inimitable journey exploring the tributaries of the stream of life.

Death shall reign bliss over the abyss to those who fear the end. All those who are dying will travel only once through the desolate. Dim it will be for the souls in gray, not ready to evanesce from this world. Grief will cling to ice, limbs will stiffen as timber, voices will go unheard through a death rattle, and our minds will turn into eternal shadow. All of the love you carry will stand on a thread of pinhole conviction. Your lifeless body will be entombed in your graveyard of disbelief. A path to an empty conscience is the only one that leads to naught. In the spiritual dimension after demise, we are the paradise lost that has disappeared.

I don’t let a lot of people in. most days I don’t give it a second thought. I’ve been this way since I was little. When I met you, I knew that I had grown. There was something different about your aura. I discovered that you were the love of your life, as I was the love of mine. Evanescent. Even when we don’t see eye to eye. You’re my best friend. My second reflection, the one I told the child in me to reach out to in case I wasn’t around.

The nature of the happiness that came from love was that it was fleeting, evanescent.

I don’t think it was so much love, but more like a person desperately clings to a dream , a hope, their faith… whatever light at the end of the tunnel keeps them walking without the need for the puppeteer’s strings. Whatever anchor keeps them from drifting aimlessly in the world’s confusing seas.

That’s what life is about, having the right to choose, to make decisions that have the ability to span your entire existence, especially when it comes to matters of the heart. Sometimes love doesn’t give the easy answer. It doesn’t make it wrong though. Good things are worth fighting for.” Like

He was alive, but life felt over. He reminded himself that these mountains had saved him once before. Outwardly he was himself, even going to the club now and then. But new scars constricted his heart. The nature of the happiness that came from love was that it was fleeting, evanescent. Nothing lasted but the land—the soil—and it would outlast them all.

It’s Already Broken Everything in this world is subject to change and renewal. We are a flow of yin and yang, of sense experiences and dreams, an ever-changing river of feelings and thoughts. Consistency is the realm of the press release; inconsistency is the stuff of life. Relax. Hold the paradox of change and eternity with grace rather than judgment or fear. Then you will see that in this imperfect world, there is another kind of joy. We have the ability to be perfectly ourselves. We have the laughter of the wise, the freedom to choose our spirit no matter the circumstances. We have the freedom to love anyway. To love amid the glorious, terrifying, and unshakable beauty of it all. We have the wisdom and courage to care sweetly in this fleeting, evanescent play of days.

Cats continue to teach me a lot of what is important in my life, and also, how short it is, how we need to express our love to those for whom we feel it, daily, nightly, in every way we can. With everyone we love, we have only a limited time so we must learn to celebrate it body and soul. They have taught me how precious every moment we can enjoy can be with whatever we love, because it all passes and so do we. Writing is a futile attempt to preserve what disappears moment by moment. All that remains of my mother is what I remember and what I have written for and about her. Eventually that is all that will remain of Ira and of me. Writing sometimes feels frivolous and sometimes sacred, but memory is one of my strongest muses. I serve her with my words. So long as people read, those we loved survive however evanescently. As do we writers, saying with our life's work, Remember. Remember us. Remember me.

Elsewhere I’d like to live Elsewhere. In hand-embroidered towns. To meet those who are not born into the world. At last we would be happily alone. No stop would wait for us. No arrival. No departure. Evanescence in a museum. No wars would fight for us. No humanity. No army. No weapon. Tipsy death. It would be fun. In the library a multi-volume time. Love. A mad chapter. It would turn the pages of our hearts in a whisper.

What does being on earth ask of us? The world wants to be rescued from evanescence, to be translated into an immaterial realm that does not perish because it was never exactly alive. To become, in other words, poetry--either in the poem the poet writes out of engagement with things, or in the interior "poem" of anyone who loves the world, the never-said words we come, over time, to carry within us.

Yet risk feels particularly complicated in the context of the stories of white firearm. Lessons seem hard to cull when the support groups are comprised only of grieving loved ones because the primary victims do not live long enough to tell you what was going through their minds. Knowledge about best practices is fleeting because Congress effectively blocks federally funded research on gun-related risk, leading to a knowledge vacuum unlike anything ever seen for every other leading cause of injury and death. Ultimately, risk is embodied not in the imagined intruder but in the person who already lives in the house. Risk then becomes at once prevalent and invisible. Risk is an ellipsis, an evanescent void.

The list of paradoxes is endless: the relentless pursuit of pleasure brings pain; the greatest risk is not taking any. My personal favorite is the truth that everything in life is a good news/bad news story. The long-sought promotion brings more money and more headaches; our dream vacation puts us in debt; experience has taught us well, but now we are too old to use the knowledge; youth is wasted on the young. Impermanence mocks us. Our efforts—to learn, to acquire, to hold on to what we have—all eventually come to naught. This is the final and controlling paradox: Only by embracing our mortality can we be happy in the time we have. The intensity of our connections to those we love is a function of our knowledge that everything and everyone is evanescent. Our ability to experience any pleasure requires either a healthy denial or courageous acceptance of the weight of time and the prospect of ultimate defeat.