Graceful Dancer Quotes

He stared up at the stars: and it seemed to him then that they were dancers, stately and graceful, performing a dance almost infinite in its complexity. He imagined he could see the very faces of the stars; pale, they were, and smiling gently, as if they had spent so much time above the world, watching the scrambling and the joy and the pain of the people below them, that they could not help being amused every time another little human believed itself the center of its world, as each of us does.

Artists use frauds to make human beings seem more wonderful than they really are. Dancers show us human beings who move much more gracefully than human beings really move. Films and books and plays show us people talking much more entertainingly than people really talk, make paltry human enterprises seem important. Singers and musicians show us human beings making sounds far more lovely than human beings really make. Architects give us temples in which something marvelous is obviously going on. Actually, practically nothing is going on.

His movements were so graceful that I wondered if he had been a dancer, but his words betrayed to me that his fluid gestures were those of a trained killer.

He stared up at the stars: and it seemed to him then that they were dancers, stately and graceful, performing a dance almost infinite in its complexity.

I’d seen him fight before, but it never got old. He was captivating. He never stopped moving. Every action was graceful and lethal. He was a dancer of death.

Through synergy of intellect, artistry and grace came into existence the blessing of a dancer.

Then your tail will divide and shrink until it becomes what the people on earth call a pair of shapely legs. But it will hurt; it will feel as if a sharp sword slashed through you. Everyone who sees you will say that you are the most graceful human being they have ever laid eyes on, for you will keep your gliding movement and no dancer will be able to tread as lightly as you. But every step you take will feel as if you were treading upon knife blades so sharp that blood must flow. I am willing to help you, but are you willing to suffer all this?" "Yes," the little mermaid said in a trembling voice, as she thought of the Prince and of gaining a human soul.

The sight filled the northern sky; the immensity of it was scarcely conceivable. As if from Heaven itself, great curtains of delicate light hung and trembled. Pale green and rose-pink, and as transparent as the most fragile fabric, and at the bottom edge a profound and fiery crimson like the fires of Hell, they swung and shimmered loosely with more grace than the most skillful dancer.

Compassion: a robust dance between grace and wisdom.

Oh, the best dancers know/what grace/every stumble/contains.

What a horse does under compulsion he does blindly, and his performance is no more beautiful than would be that of a ballet-dancer taught by whip and goad. The performances of horse or man so treated would seem to be displays of clumsy gestures rather than of grace and beauty. What we need is that the horse should of his own accord exhibit his finest airs and paces at set signals.

Like people touch the feet of Jesus on the Pieta and hope for a blessing, I would touch the feet of the dancer and hope for grace.

Every dancer knows that being technically perfect isn’t good enough. We need to know why we dance. For me, it’s to be connected. I’m inspired by my friends.

She loved hockey. Loved the speed, the agility. The fights. The men. Brawny, sweaty, messy. They let their hair grown, though no one would ever accuse them of being feminine, not with perpetual five o'clock shadow and bulging muscles. They skated with the grace of ballet dancers and fought at the drop of a glove.

Mia had seen some fighters who moved like dancers, lithe and graceful. Others moved like bulls, and brawn and bluster. But Cassius moved like a knife. Simple. Straight. Deadly. There was no flash to his style. No flair. He simply cut right to the bone.

Girls were drafted right along with boys into the King’s Army when they came of age, so I’d seen plenty of girls fight and had trained alongside them. But I’d never seen anyone, male or female, fight the way Tamar did. She had a dancer’s grace and a seemingly unerring instinct for what her opponent would do next.

Are you going to hand me over to him?" "I haven't decided yet," I teased, and he smiled again, erasing his momentary seriousness. "So, where'd you get the suit?" "Believe it or not, that lovely friend of yours, Willa," Loki said. "She brought me a whole slew of clothes last night. When I asked her why she was being so generous, she said it was out of fear that I would run around naked." I smiled. "That does sound like something you would do. Why are you wearing all black, though? Didn't you know you were going to a wedding?" "On the contrary," he said, doing his best to look unhappy. "I'm in mourning over the wedding." "Oh, because it's too late?" I asked. "No, Wendy, it's never too late." His voice was light, but his eyes were solemn. "May I cut in?" the best man asked. "No, you may not," Loki said. I'd started to move away from him, but he held fast. "Loki," I said, and my eyes widened. "I'm still dancing with her," Loki said, turning to look at him. "You can have her when I'm done." "Loki," I said again, but he was already twirling me away. "You can't do that." "I just did." He grinned. "Oh, Wendy, don't look so appalled. I'm already the rebel Prince of thine enemy. I can't do much more to tarnish my image." "You can certainly tarnish mine," I pointed out. "Never," Loki said, and it was his turn to look appalled. "I'm merely showing them how it's done." He began spinning me around the dance floor in grand arcs, my gown swirling around me. He was a brilliant dancer, moving with grace and speed. Everyone had stopped to watch us, but I didn't care. This was the way a Princess was supposed to dance on her wedding day. The song ended, switching to something by Mozart, and he slowed, almost to a stop, but he kept me in his arms. "Thank you." I smiled. My skin felt flushed from dancing, and I was a little out of breath. "That was a wonderful dance." "You're welcome," he said, staring intently at me. "You are so beautiful." "Stop," I said, looking away as my cheeks reddened. "How can you blush?" Loki asked, laughing gently. "People must tell you how beautiful you are a thousand times a day." "It's not the same," I said. "It's not the same?" Loki echoed. "Why? Because you know they don't mean it like I do?" We did stop dancing them, and neither of us said anything. Garrett came up to us. He smiled, but his eyes didn't appear happy. "Can I cut in?" Garrett asked. "Yes," Loki said, shaking off the intensity he'd had a moment ago, and grinned broadly at Garrett. "She's all yours, good sir. Take care of her." He patted Garrett on the arm once for good measure and gave me a quick smile before heading back over to the refreshment table.

What am I? The modest narrator who accompanies your triumphs; the dancer who supports you when you rise in your lovely grace; the branch upon which you rest a moment when you are tired of flying; the bass that interposes itself below the soprano’s fervour to let it climb even higher—what am I? I am the earthly gravity that keeps you on the ground. What am I, then? Body, mass, earth, dust and ashes.—You, my Cordelia, you are soul and spirit.” —Johannes the Seducer, from_Either/Or_

Listening to her banter with Armin was like standing between two ballet dancers in a gunfight. They circled each other elegantly, feinting, pirouetting, setting up the fatal shot, and Blythe was usually the one to fire it point-blank to Armin’s chest. He accepted his wounds with a gentleman’s grace, and the dance resumed.

You are dancers, all of you. Life moves you; life dances you. To dance is to investigate and celebrate the experience of being alive. Like life, a dance creates and destroys itself in every moment. Like love, it is beyond reason. Ephemeral as breath, concrete as bone, dance is made of you. You sculpt space. You write with your body in a wordless language that is deeply understood. You grace the space within and around you when you dance. Force, trajectory, inertia, and recovery: dancing is a ride, a duet between your instinct and imagination. To dance is to heighten your experience of the present moment. Your body is your location - when you dance, you are profoundly engaged in being there. To dance is to feel the resonance of your life, to delight in your existence. To be human is to be danced by experience, energy and emotion.

Grace Slaughter - the surname of her fifth husband, a manufacturer of pharmaceutical toners and "prophylactic" products, recently deceased due to a ruptured peritoneum - was sharply chauvinistic and would allow no more than two exceptions to her all-American views, exceptions with which her first spouse, Astolphe de Guéménolé-Longtgermain, no doubt had something to do: cooking had to be done by French nationals of male gender, laundry and ironing by British subjects of female gender (and absolutely not by Chinese). That allowed Henri Fresnel to be hired without having to hide his original citizenship, which is what had to be done by the director (Hungarian), the set designer (Russian), the choreographer (Lithuanian), the dancers (Italian, Greek, Egyptian), the scriptwriter (English), the librettist (Austrian), and the composer, a Finn of Bulgarian descent with a large dash of Romanian.

Had we not decided to perform this as gracefully as a dancer’s leap? But we turned it into a dinosaur’s dance party!

Sleepwalking [10w] Do ballet dancers sleepwalk gracefully or just do the Zombie-drag?

When the hippie era ended and the hangover began, as idealism gives way to disillusionment, the hair of the marchers and street-dancers kept getting longer, and soon it began to tangle. Free love deteriorated into loveless promiscuity, our great electric Kool-Aid acid test churned out an entire generation of burnt-out old relics, and the hair, once a symbol of freedom, became symbolic of the new face of prison, a lawlessness which taken to its logical extreme would imprison all of society as our growing criminal element took to the streets.

The Aurora!" Her wonder was so strong that she had to clutch the rail to keep from falling. The sight filled the northern sky; the immensity of it was scarcely conceivable. As if from Heaven itself, great curtains of delicate light hung and trembled. Pale green and rose-pink, and as transparent as the most fragile fabric, and at the bottom edge a profound and fiery crimson like the fires of Hell, they swung and shimmered loosely with more grace than the most skillful dancer. Lyra thought she could even hear them: a vast distant whispering swish. In the evanescent delicacy she felt something as profound as she'd felt close to the bear. She was moved by it: it was so beautiful it was almost holy; she felt tears prick her eyes, and the tears splintered the light even further into prismatic rainbows.

Civilization was a dance, and the ancient Wyr were late to the ball. They donned masks and slipped with silent predatory grace into the ballroom. They watched with sharp eyes that glittered deep in the shadows behind their assumed facades, recording and learning the twist and rhythm of the dance, the social mores, when to bow and press their lips to the back of the hand, how to smile and say good evening, please and thank you and yes, I shall take more sugar with my tea. All the while they noted the pulse that fluttered at the base of the dancers' necks, the scents of sweat and the quickened breath.

Doc was collecting marine animals in the Great Tide Pool on the tip of the Peninsula. It is a fabulous place: when the tide is in, a wave-churned basin, creamy with foam, whipped by the combers that roll in from the whistling buoy on the reef. But when the tide goes out the little water world becomes quiet and lovely. The sea is very clear and the bottom becomes fantastic with hurrying, fighting, feeding, breeding animals. Crabs rush from frond to frond of the waving algae. Starfish squat over mussels and limpets, attach their million little suckers and then slowly lift with incredible power until the prey is broken from the rock. And then the starfish stomach comes out and envelops its food. Orange and speckled and fluted nudibranchs slide gracefully over the rocks, their skirts waving like the dresses of Spanish dancers. And black eels poke their heads out of crevices and wait for prey. The snapping shrimps with their trigger claws pop loudly. The lovely, colored world is glassed over. Hermit crabs like frantic children scamper on the bottom sand. And now one, finding an empty snail shell he likes better than his own, creeps out, exposing his soft body to the enemy for a moment, and then pops into the new shell. A wave breaks over the barrier, and churns the glassy water for a moment and mixes bubbles into the pool, and then it clears and is tranquil and lovely and murderous again. Here a crab tears a leg from his brother. The anemones expand like soft and brilliant flowers, inviting any tired and perplexed animal to lie for a moment in their arms, and when some small crab or little tide-pool Johnnie accepts the green and purple invitation, the petals whip in, the stinging cells shoot tiny narcotic needles into the prey and it grows weak and perhaps sleepy while the searing caustic digestive acids melt its body down. Then the creeping murderer, the octopus, steals out, slowly, softly, moving like a gray mist, pretending now to be a bit of weed, now a rock, now a lump of decaying meat while its evil goat eyes watch coldly. It oozes and flows toward a feeding crab, and as it comes close its yellow eyes burn and its body turns rosy with the pulsing color of anticipation and rage. Then suddenly it runs lightly on the tips of its arms, as ferociously as a charging cat. It leaps savagely on the crab, there is a puff of black fluid, and the struggling mass is obscured in the sepia cloud while the octopus murders the crab. On the exposed rocks out of water, the barnacles bubble behind their closed doors and the limpets dry out. And down to the rocks come the black flies to eat anything they can find. The sharp smell of iodine from the algae, and the lime smell of calcareous bodies and the smell of powerful protean, smell of sperm and ova fill the air. On the exposed rocks the starfish emit semen and eggs from between their rays. The smells of life and richness, of death and digestion, of decay and birth, burden the air. And salt spray blows in from the barrier where the ocean waits for its rising-tide strength to permit it back into the Great Tide Pool again. And on the reef the whistling buoy bellows like a sad and patient bull.

The dancer's grace and, forty years on, her arthritis - both are functions of the skeleton. It is thanks to an inflexible framework of bones that the girl is able to do her pirouettes, thanks to the same bones, grown a little rusty, that the grandmother is condemned to a wheel chair. Analogously, the firm support of a culture is the prime condition of all individual originality and creativeness; it is also their principal enemy. The thing in whose absence we cannot possibly grow into complete human beings is, all too often, the thing that prevents us from growing.

Both Rick and Amelia were impressed with their graceful movements. The Balinese dance was artistic with great expression. The dancers seemed to be telling a story through their fingers, hands and body gestures, including head and eye movements. It was amazing. Every gesture was elegant.

She isn’t particularly beautiful, come to think of it. She’s taller than most women are, and there’s something about her jaw line that throws off the beauty of her face. And yet – the grace of her movements, the flash of her eyes, the way she dances…everything could be forgiven for the way she danced. – Night Dancer

Born in Hong Kong, raised between Sydney and New York, educated in British boarding schools that gave her a posh, unplaceable foreign accent; tall and razor-thin, graceful in the way all former ballet dancers are, porcelain pale and possessed of these massive, long-lashed brown eyes that make her look like a Chinese Anne Hathaway

What am I? The modest narrator who accompanies your triumphs; the dancer who supports you when you rise in your lovely grace; the branch upon which you rest a moment when you are tired of flying; the bass that interposes itself below the soprano’s fervour to let it climb even higher—what am I? I am the earthly gravity that keeps you on the ground. What am I, then? Body, mass, earth, dust and ashes.—You, my […], you are soul and spirit.” —Johannes the Seducer, from_Either/Or_

He stared up at the stars: and it seemed to him then that they were dancers, stately and graceful, performing a dance almost infinite in its complexity. He imagined he could see the very faces of the stars; pale, they were, and smiling gently, as if they had spent so much time above the world, watching the scrambling and the joy and the pain of the people below them, that they could not help being amused every time another little human believed itself the centre of its world, as each of us does.

Girls were drafted right along with boys into the King’s Army when they came of age, so I’d seen plenty of girls fight and had trained alongside them. But I’d never seen anyone, male or female, fight the way Tamar did. She had a dancer’s grace and a seemingly unerring instinct for what her opponent would do next. Her weapons of choice were two double-bit axes that she wielded in tandem, the blades flashing like light off water, but she was nearly as dangerous with a saber, a pistol, or her bare hands.

Then, thinking of my old home with Thena and all my days there, and what it had been to me through all those years, I squeezed again and the blue tendrils snatched us up, and this time, when they released us, we found ourselves right back there on the Street, and as the fog retreated, the last image we had was of a woman water dancing, a jar on her head, dancing away from us until, with the most incredible grace, she angled her head so that the jar slid down, and reaching up she caught the jar by the neck, laughed, drank from it, and offered it up to someone unseen as she faded away.

Now I know how to still your sharp tongue.” He spoke right into her ear, his cheek almost against her temple. If he moved any closer, they’d become objects of talk. “All I have to do is stand up with you, and your temper falls silent.” “I don’t generally dance.” “I know, though I can’t fathom why. You move like a sylph.” “Are you teasing me?” “I am not.” He pulled back to study her by the candlelight. “I’ve partnered many women, and you are an accomplished dancer.” She relaxed a little at his words, because Hazlit might be a wretch, but he was an honest wretch. He’d tell her to her face when he was making fun of her. “I

We need to help her,” Bryce panted to Azriel. “I promise you, she’s fine,” Azriel countered, urging them further into the tunnel. Out of the impact zone, Bryce realized. The Wyrm must have sensed the sword’s approach, because it bucked against the bones and claws pinning it to the rock. It managed to nudge the undead creature back, but only for a heartbeat. Nesta raised her free hand again, and the undead creature slammed the Wyrm back into the ground. The Wyrm thrashed, desperate now. With a dancer’s grace, Nesta scaled the undead beast’s tail, running along the knobs of its spine like rocks in a stream. Getting to higher ground, to a better angle. The Wyrm shrieked, but Nesta had reached the undead beast’s white skull. And then she was jumping, sword arcing above her, then down, down— Straight into the head of the Wyrm. A shudder of silver fire rushed down the Wyrm. That cold, dry wind shivered through the caves again, death in its wake. The Wyrm slumped to the ground. The silence was worse than the sound. Azriel was instantly gone, wings tucking in tight as he rushed toward Nesta and the undead beast that still held the Wyrm in its grip. “Take it off,” Azriel ordered her. The female turned her head toward him with a smooth motion that Bryce had only seen from possessed dolls in horror movies. “Take it off,” Azriel snarled.

He dropped the jacket and pulled his T-shirt off over his head; the collar caught for a moment, and Clary just stared, suddenly hyperaware of the fact that they were alone, and of his body: honey-colored skin mapped with old and new Marks, a fading scar just under the curve of his left pectoral muscle. Flat, ridged stomach tapering to narrow hips; he’d lost weight, and his weapons belt hung loose. Legs, arms, graceful like a dancer’s; he pulled free of the shirt and shook out his bright hair, and she thought with a sudden sinking in her stomach that it just wasn’t possible that he was hers, he wasn’t the sort of person ordinary people got to be near, much less touch, and then he looked up at her, hands on his belt, and smiled his familiar crooked smile.

A group of grandmothers is a tapestry. A group of toddlers, a jubilance (see also: a bewailing). A group of librarians is an enlightenment. A group of visual artists is a bioluminescence. A group of short story writers is a Flannery. A group of musicians is--a band. A resplendence of poets. A beacon of scientists. A raft of social workers. A group of first responders is a valiance. A group of peaceful protestors is a dream. A group of special education teachers is a transcendence. A group of neonatal ICU nurses is a divinity. A group of hospice workers, a grace. Humans in the wild, gathered and feeling good, previously an exhilaration, now: a target. A target of concert-goers. A target of movie-goers. A target of dancers. A group of schoolchildren is a target.

The King of Hell was everything they said he was, both less and more. He was reputed to have the ability to seduce an abbess or the pope himself, and she could see why. It wasn't his physical beauty, which was considerable. He had dark blue eyes behind a fringe of ridiculously long lashes, pale, beautiful skin, the kind of mouth that could bring despair and delight- and what the hell was she doing, thinking about such things? He looked younger than his reputed age, around forty, and while his long dark hair was streaked with silver it only made him seem more leonine, more dangerous. He was tall, and he moved with an elegant grace that put dancers to shame. He was standing far too close to her, to the gun she'd stolen from Jacobs while he was busy with the carriage, and he was looking at her with far too much interest and absolutely no fear.

On the television screen were ballerinas. A buzzer sounded in George's head. His thoughts fled in panic, like bandits from a burglar alarm. "That was a real pretty dance, that dance they just did," said Hazel. "Huh" said George. "That dance-it was nice," said Hazel. "Yup," said George. He tried to think a little about the ballerinas. They weren't really very good-no better than anybody else would have been, anyway. They were burdened with sashweights and bags of birdshot, and their faces were masked, so that no one, seeing a free and graceful gesture or a pretty face, would feel like something the cat drug in. George was toying with the vague notion that maybe dancers shouldn't be handicapped. But he didn't get very far with it before another noise in his ear radio scattered his thoughts. George winced. So did two out of the eight ballerinas.

I am sitting alone in my old English classroom at my old desk, reading from Shakespeare’s Macbeth. The only sounds in the room are the ticking of the clock and the occasional rustling of the pages of the book. Then, Martina Reynaud, the most beautiful girl in the Class of ’83, walks in. She’s tall, graceful, and absolutely breathtaking. She’s wearing a black dress, one that shows off her long dancer’s legs. Her peaches-and-cream complexion is flawless; there is no sign of a pimple anywhere. Her long chestnut hair cascades down over her shoulders. In short, she is the personification of feminine elegance from the top of her head to her high-heeled shoes. I try to get back to my reading assignment, but the scent of her perfume, a mixture of jasmine and orange blossoms, is beguiling. I look to my right; she is sitting at the desk right next to mine. She gives me a smile. My heart skips a beat. I know guys who would kill for one of Marty’s smiles. She has that effect on most men. Her smile is full of genuine warmth and affection; I can tell by the look in her hazel eyes. “Hi, Jimmy,” she says. Her voice is soft and melodious; she speaks with a lilting British accent. From what I’ve heard, her family is from England. London, actually. “Hi,” I reply, feeling about as articulate as your average mango. Then, mustering my last reserves of willpower, I focus my attention on Shakespeare’s play.

On the second Sabbat of Twelfthmoon, in the city of Weep, a girl fell from the sky. Her skin was blue, her blood was red. She broke over an iron gate, crimping it on impact, and there she hung, impossibly arched, graceful as a temple dancer swooning on a lover’s arm. One slick finial anchored her in place. Its point, protruding from her sternum, glittered like a brooch. She fluttered briefly as her ghost shook loose, and torch ginger buds rained out of her long hair. Later, they would say these had been hummingbird hearts and not blossoms at all. They would say she hadn’t shed blood but wept it. That she was lewd, tonguing her teeth at them, upside down and dying, that she vomited a serpent that turned to smoke when it hit the ground. They would say a flock of moths came, frantic, and tried to lift her away. That was true. Only that. They hadn’t a prayer, though. The moths were no bigger than the startled mouths of children, and even dozens together could only pluck at the strands of her darkening hair until their wings sagged, sodden with her blood. They were purled away with the blossoms as a grit-choked gust came blasting down the street. The earth heaved underfoot. The sky spun on its axis. A queer brilliance lanced through billowing smoke, and the people of Weep had to squint against it. Blowing grit and hot light and the stink of saltpeter. There had been an explosion. They might have died, all and easily, but only this girl had, shaken from some pocket of the sky. Her feet were bare, her mouth stained damson. Her pockets were all full of plums. She was young and lovely and surprised and dead. She was also blue. Blue as opals, pale blue. Blue as cornflowers, or dragonfly wings, or a spring—not summer—sky.

He closes his eyes. What does God see? Cromwell in the fifty-fourth year of his age, in all his weight and gravitas, his bulk wrapped in wool and fur? Or a mere flicker, an illusion, a spark beneath a shoe, a spit in the ocean, a feather in a desert, a wisp, a phantom, a needle in a haystack? If Henry is the mirror, he is the pale actor who sheds no lustre of his own, but spins in a reflected light. If the light moves he is gone. When I was in Italy, he thinks, I saw Virgins painted on every wall, I saw in every fresco the sponged blood-colour of Christ's robe. I saw the sinuous tempter that winds from a branch, and Adam's face as he was tempted. I saw that the serpent was a woman, and about her face were curls of silver-gilt; I saw her writhe about the green bough, saw it sway under her coils. I saw the lamentation of Heaven over Christ crucified, angels flying and crying at the same time. I saw torturers nimble as dancers hurling stones at St Stephen, and I saw the martyr's bored face as he waited for death. I saw a dead child cast in bronze, standing over its own corpse: and all these pictures, images, I took into myself, as some kind of prophecy or sign. But I have known men and women, better than me and closer to grace, who have meditated on every splinter of the cross, till they forget who and what they are, and observe the Saviour's blood, running in the soaked fibres of the wood. Till they believe themselves no longer captive to misfortune nor crime, nor in thrall to a useless sacrifice in an alien land. Till they see Christ's cross is the tree of life, and the truth breaks inside them, and they are saved. He sands his paper. Puts down his pen. I believe, but I do not believe enough. I said to Lambert, my prayers are with you, but in the end I only prayed for myself, that I might not suffer the same death.

The fox barked at her, one sharp, short sound. Without expecting to, Irène laughed. "What?" she said aloud. The fox's mouth opened, showing its white teeth, and its tongue lolled, laughing with her. A sense of recognition tingled in Irène's bones and throbbed in her forehead. Her laughter died. She came to her feet, facing the creature. It scrambled down from the tree trunk, its lithe body weaving through the branches as easily as a stream of water might. It stood on the opposite bank. Its tail arced above its back, a plume of red and black. Its unblinking gaze fixed itself on her. Irène whispered, "Are you here for me?" Again the fox's mouth opened in its grin, and its tail waved once, twice, before it leaped the little brook as easily as if it could fly. Irène stood very still as the fox stepped toward her on narrow black feet as dainty as a dancer's. It---he, she could see now---pressed his cold black nose against the back of her hand, and, when she turned it, nosed her palm. She thrilled at the touch, though the touch of so many other beasts disgusted her. He was different, this fox. It was not just that he was beautiful, and graceful. It was more, much more. Her soul knew him. Her power flared in his presence. He took a step back, his eyes never leaving hers, then whirled and leaped back over the brook to disappear into the forest on the other side. The last thing she saw was that lush red-and-black tail, switching back and forth as he faded into the dimness of the woods. Irène brought her palm to her nose and sniffed the toasty smell of him. She knew what he was, and she knew what it meant. Her mother had Aramis. Her grandmother, Ursule had told her, had had an ugly gray cat. And she---now, surely, a witch in full possession of her power---had a glorious vulpine creature like no other. She had her fox. She would see him again.

Amy?" he breathed. Two dancers, caught up in the dance, didn't see him standing there and collided with him, nearly knocking him down. "Lord Charles!  I beg your pardon!" But he never heard them.  He never saw them.  He had eyes only for the stunning beauty who was being swept around the dance floor by Gareth's friend Perry.  She was a ravishing young woman in shimmering peacock and royal blue whose beauty commanded the eye, the attention, the heart — and made every other woman in the room pale to insignificance. Charles's mouth went dry.  His heartbeat cracked his chest and he forgot to breathe. Another set of dancers collided with him, knocking him to his senses.  Angrily, he stared into the amused eyes of Gareth's friend Neil Chilcot, another Den of Debauchery member who was partnering a grinning Nerissa.  "Gorgeous young woman, isn't she?" quipped Chilcot, sweeping Nerissa past.  "You should've stuck around to see her announced, Charles.  Not that you'll ever have a chance of claiming a dance with her now, what with all the young bucks before you already waiting . . ." Charles had heard enough.  But as he stalked across the dance floor, he heard even more. "Well, His Grace told me she's an heiress . . ." "Not just an heiress, but a princess from some vast Indian nation in America . . ." ". . . came here to offer her tribe's help in the war against the Americans . . ." Charles clenched his fists.  Lucien.  No one else could have, would have, started and circulated such a preposterously crazy rumor!  What the hell was his brother trying to do, get Amy married off to some handsome young swain and out of Charles's life forever?  This was no training for a lady's maid, that was for damned sure! His jaw tight, he stormed across the dance floor toward Amy.  He saw her hooped petticoats swirling about her legs and exposing a tantalizing bit of ankle with every step she took, the laughter in her face even though she kept glancing over Perry's shoulder in search of someone, the studied grace in her movements that, a week ago, he would've sworn she didn't have. She had not seen him yet, and as Perry, a handsome man who had something of a reputation with the ladies, led her through the steps, Charles felt a surge of jealousy so fierce, so violent, that it made him think of doing something totally irrational. Such as calling Perry out for dancing with his woman. Such as killing Lucien for whatever little game he was playing. Such

On the second Sabbat of Twelfthmoon, in the city of Weep, a girl fell from the sky. Her skin was blue, her blood was red. She broke over an iron gate, crimping it on impact, and there she hung, impossibly arched, graceful as a temple dancer swooning on a lover’s arm. One slick finial anchored her in place. Its point, protruding from her sternum, glittered like a brooch. She fluttered briefly as her ghost shook loose, and torch ginger buds rained out of her long hair. Later, they would say these had been hummingbird hearts and not blossoms at all. They would say she hadn’t shed blood but wept it. That she was lewd, tonguing her teeth at them, upside down and dying, that she vomited a serpent that turned to smoke when it hit the ground. They would say a flock of moths came, frantic, and tried to lift her away. That was true. Only that. They hadn’t a prayer, though. The moths were no bigger than the startled mouths of children, and even dozens together could only pluck at the strands of her darkening hair until their wings sagged, sodden with her blood. They were purled away with the blossoms as a grit-choked gust came blasting down the street. The earth heaved underfoot. The sky spun on its axis. A queer brilliance lanced through billowing smoke, and the people of Weep had to squint against it. Blowing grit and hot light and the stink of saltpeter. There had been an explosion. They might have died, all and easily, but only this girl had, shaken from some pocket of the sky. Her feet were bare, her mouth stained damson. Her pockets were all full of plums. She was young and lovely and surprised and dead. She was also blue. Blue as opals, pale blue. Blue as cornflowers, or dragonfly wings, or a spring—not summer—sky. Someone screamed. The scream drew others. The others screamed, too, not because a girl was dead, but because the girl was blue, and this meant something in the city of Weep. Even after the sky stopped reeling, and the earth settled, and the last fume spluttered from the blast site and dispersed, the screams went on, feeding themselves from voice to voice, a virus of the air. The blue girl’s ghost gathered itself and perched, bereft, upon the spearpoint-tip of the projecting finial, just an inch above her own still chest. Gasping in shock, she tilted back her invisible head and gazed, mournfully, up. The screams went on and on. And across the city, atop a monolithic wedge of seamless, mirror-smooth metal, a statue stirred, as though awakened by the tumult, and slowly lifted its great horned head.

What is involved in appearing to court me?” He quirked an eyebrow at her. “You haven’t been courted before? What about the climbing cits and baronets’ sons? They never came up to scratch?” “Many of them did.” She wondered what he’d look like if somebody were to shave off those piratical eyebrows. “They did not bother much with the other part of the business.” “The wooing?” “The nonsense.” “We need the nonsense,” he said. “We need to drive out at the fashionable hour; we need to be seen arm in arm at the social events. I need to call upon you at the proper times with flowers in hand, to spend time with your menfolk when I creditably can. I’ll carry your purchases when you go shopping and be heard begging you to save your waltzes for me.” “There’s a problem,” she said, curiously disappointed to see the flaw in his clever scheme. He was a wonderful dancer; that was just plain fact. And she loved flowers, and loved the greenery and fresh air of Hyde Park. She also liked to shop but generally contented herself with the occasional minor outing with her sisters. And to hear him begging for her waltzes… “What sort of problem can there possibly be? Couples are expected to court in spring. It’s the whole purpose behind the Season.” “If you court me like that, Their Graces will get wind of it. They very likely already know you’ve called on me.” “And this is a problem how?” He wasn’t a patient man, or one apparently plagued with meddlesome parents. “They will start, Mr. Hazlit. They will get their hopes up. They will sigh and hint and quiz my siblings, all in hopes that you will take me off their hands.” “Then they will be disappointed. Parents expect to be disappointed. My sister was a governess, and she has explained this to me.” He looked like he was winding up for a lecture before the Royal Society, so she put a hand on his arm. “I do not like to disappoint Their Graces,” she said quietly. “They have suffered much at the hands of their children.” He blinked at her, his lips pursing as if her sentiments were incomprehensible. “I won’t declare for you,” he said. “If they let their hopes be raised by a few silly gestures, then that is their problem. You have many siblings. Let them fret over the others.” “It isn’t like that.” She cocked her head to study him. Hadn’t he had any parents at all? “I could have seventeen siblings, and Their Graces would still worry about me. You mentioned having sisters. Do you worry less about the one than the other?” “I do not.” He didn’t seem at all pleased with this example. “I worry about them both, incessantly. Excessively, to hear them tell it, but they have no regard for my feelings, else they’d write more than just chatty little…” “Yes?” “Never mind.” Some

You dance divinely, my lady,” he said quietly near her ear, gently leading her with his arm and pressure on her hand past the gay colors of the other dancers. Clarissa flushed and smiled a bit proudly, then sighed and shook her head. “No, my lord,” she said demurely. “You give me too much credit. I fear you are the one who dances divinely. I know it is not I, for I have been able to do nothing but stumble and fall when dancing with others.” “Then the fault lies with those others. You are as light and graceful as a feather on the dance floor with me.” Clarissa considered briefly; then, with a sense of justice, nodded her head. “I believe you may be right, my lord. After all, if it were me alone, even your obvious skill could not have made it so easy. Perhaps my previous partners were a bit nervous and awkward.” “How refreshing.” She could hear the smile in his voice, and so Clarissa raised her eyebrows in question. “My lord?” “Your honesty. I am pleased by your lack of false modesty. It is something that never really bothered me before, yet now seems as fake and unpleasant as the airs everyone puts on when in the city. I find your honesty most refreshing.” Clarissa felt herself blush, and then the first strains of a new song hummed through the air. Her companion paused and turned her into his arms once more. “Close your eyes,” he instructed, and began to move them around the room once more. -Adrian & Clarissa

Be grateful for the twists in the road. They teach us humility and grace. And any dancer in this life requires both

Balinese Dance The antithesis of Balinese mellow is Balinese dance. It's amazing how people who relish lounging in bales (open-sided pavilions) can also produce art that demands methodical precision. A performer of the Legong, the most beautiful dance, spends years learning minutely choreographed movements from her eyeballs to her toes. Each movement has a meaning and the language flows with a grace that is hypnotic. Clad in silk and ikat, the dancers tell stories rich with the very essence of Balinese Hindu beliefs and lore. Every night there are multiple shows in Ubud.

The Sorcery of Romance (Song) All romancers do what they gotta' do; A chef will woo you with her cordon bleu, A dancer with a graceful pas de deux, A barista will blend you her finest arabica brew ~ All romancers do what they gotta' do. A necromancer's allure on the other hand, may be to conjure up the dead for you. Wooing is sorcery's shiny brass band, Milking love from us until we moo. Yeah, romancers do what they gotta' do; Necromancers do what they gotta' do.

The ‘performers’ do their act with all the grace of ballet dancers, seemingly oblivious to the danger around them.” Brad Durfee, referring to flight deck workers in Stars and Stripes, August 16, 1975.

I'd been drawn to an orange Siamese fighter fish with fins that moved like a graceful flamenco dancer, and I'd wanted one for the big tank in the restaurant until Charles explained that he (or she) would kill all the other fishes we'd picked out---tropical delights in all the colors of the rainbow, some spotted like leopards, all being delivered to the restaurant tomorrow morning. I tap on the glass. "I'm going to name you Frushi. French sushi. Don't worry, nobody is going to eat you. The sea bass, on the other hand, that's another story." Frushi shows off, wiggling his featherlike tail and fins, which look like they're made of inky silk, as he swims through the tiny castle and live plants I'd purchased for his new home.

I'd give anything to go to school in California,” Diamond admitted as she bought two slices of cheese pizza. “Why is that?” He glanced around, evidently looking for his daughter. “I don't know. Close to Hollywood. Movie stars. The ocean. All that stuff,” Diamond replied. Thane tilted his head. “You have that look, if you don't mind my saying so.” “Huh? What look?” He checked his watch. “Where can that girl be?” Then he looked back at Diamond as if he'd just remembered her question. “That star look. You're a dancer, right?” Diamond's eyes went wide. “How did you know?” “Well, you walk like a queen, tall and graceful. And it says 'dance' all over that bag you're carrying.

To Our Tiny Dancer Your last dance is a first in a series of lasts that will mark the end of your childhood. May you learn to move with your natural grace through the spirals, leaps, and spins of life. And when you fall, as everyone must, rise sweet girl, rise.

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

The dancer will never dance as gracefully as when there is no one around to see and she will not care.

A pair of Masks battles within, each brandishing two slender scims. “It’s Veturius,” Izzi says. “And Aquilla. They’ve been at it for ages.” As I watch them fight, I find that I’m holding my breath. They move like dancers, whirling back and forth across the room, graceful, liquid, deadly. And so swift, like shadows on the surface of a river. If I wasn’t watching it with my own eyes, I would never believe anyone could move that fast. Veturius knocks the scim from Aquilla’s hand, and he is on her, their bodies entangled as they wrestle across the floor with a strange, intimate violence. He is all muscle and force, and yet I can see in the way he fights that he is holding himself back. He is refusing to unleash his whole strength on her. Even still, there is an animal freedom to how he moves, a controlled chaos that makes the air around him blaze.

Craftsmen—writers, brewers, dancers, potters—show up and work, and they participate in a mystery. They take up a craft, again and again, on bad days and good, waiting for a flash of mercy, a gift of grace.

In Singin’ in the Rain, Lina Lamont provides both an effective “beard” for Don and Cosmo and a foil, representing both the reason for Don’s “unattached” state and the basis for their mutual contempt for women. Yet the signs are all there to be read for those interested in reading them: Cosmo and Don performing as a burlesque team, in which they sit on each other’s laps and play each other’s violins; Cosmo’s comment to Lina after the premiere of The Royal Rascal, “Yeah, Lina, you looked pretty good for a girl”;30 and their bullying, in “Moses Supposes,” of the fogyish diction coach, figuratively drawn out of his closet only to be ridiculed as an asexual “pansy” who can’t sing and dance (thus both confirming and denying homosexuality at the same time).31 On a broader scale, Kelly’s career as a dancer, offering a more masculinized style of athletic dance (in opposition especially to the stylized grace of Fred Astaire), represented a similar balancing act between, in this case, the feminized occupation of balletic dance and a strong claim of heterosexual masculinity. Significantly, the process of exclusion they use with the diction coach is precisely what Cosmo proposes they apply to Lina in converting The Dueling Cavalier into a musical: “It’s easy to work the numbers. All you have to do is dance around Lina and teach her how to take a bow.” But they also apply the strategy to Kathy, who is only just learning to “dance” in this sense (conveniently so, since Debbie Reynolds had had but little dance training, as noted).32 Early on, we see her dance competently in “All I Do Is Dream of You,” but she then seems extremely tentative in “You Were Meant for Me,” immobile for much of the number, not joining in the singing, and dancing only as Don draws her in (which is, of course, consistent with her character’s development at this point). With “Good Mornin’,” though, she seems to “arrive” as part of the Don-Cosmo team, even though for part of the number she serves as a kind of mannequin—much like the voice teacher in “Moses Supposes,” except that she sings the song proper while Don and Cosmo “improvise” tongue-twisting elaborations between the lines. As the number evolves, their emerging positions within the group become clear. Thus, during their solo clownish dance bits, using their raincoats as props, Kathy and Don present themselves as fetishized love objects, Kathy as an “Island girl” and Don as a matador, while Cosmo dances with a “dummy,” recalling his earlier solo turn in “Make ’em Laugh.

I’m not sure if I’ve ever watched an NHL game before, but I should have. These guys fly across the ice like dancers, but crash into each other like freight trains. The combination of grace and violence is fascinating. And sexy.

People say ballet theaters are haunted by the dancers who died tragically young, but that’s not true. Theaters are haunted by bored ghost girls. They’ve spooked everyone worth spooking. Wandered Paris, Rome, Tokyo. Lasted lifetimes in ineffectual transparent bodies. Now they strive for perfection, unity, grace. All the things they didn’t have time to achieve when alive.

No makeup. She moves like a ballet dancer, with a powerful and fluid grace. The kind of woman Mal can never be. The kind of woman who makes Mal feel like an oversize, blundering Labrador retriever.

Just as a singer shows the melody of their voice and a dancer demonstrates the grace of their body, a mentalist expresses the beauty of the mind.

Think of it this way. I’m like the end of the movie.” “The end of what movie?” “You know how in the movies there’s always this person who wishes they were super successful, and then they get everything they thought they ever wanted. The fame, the money. All of it. Time passes, and they realize it’s not enough and long for the simple life when they did art for art’s sake. When there were no pressures or fake people. They give it all up and go back to being ordinary.” I flash him my coyest smile. “I just skipped all the fame, fortune, and chaos part and went straight to the ending where I dance for the fun of it.” Tyler runs his hands over my hair and then cradles the back of my head. “The end of the movie, huh? There’s one thing missing from your plotline, you know that?” “What?” “A romantic interest.

The circle of young cedars look like women in green shawls, beaded with raindrops catching the light, graceful dancers in feathery fringe that sways with their steps.

Maybe she’d call up Fury and see if she could pay a little visit to Sabine. But—she’d never ask that of Fury. Fury kept her professional shit out of their lives, and they knew better than to ask too many questions. Only Juniper could get away with it. Honestly, it made no sense that any of them were friends: the future Alpha of all wolves, an assassin for high-paying clients waging war across the sea, a stunningly talented dancer and the only faun ever to grace the stage of the Crescent City Ballet, and … her.

There was nothing graceful about what I was doing. If he was a dancer, driven by years of training and lethal precision, I was an animal drunk on hunger and instinct. But he protected me, covering up the sloppy mistakes of my rage, responding to every silent request of my movements.

In the ebb and flow of the present's embrace, Hidden truths emerge, weaving tales in grace. Do we craft stories or in narratives abide? Uncertainty's pulse, our existence as a guide. Like particles entwined in a cosmic ballet, Are we oceans within a droplet, or droplets in a bay? Strings of existence dance in quantum trance, As rain merges with rivers, do we merge in the cosmic expanse? Observer and observed, in stories we immerse, As cosmic dancers, are we waves or the universe? The melody of existence, an intricate weave, Echoing through verses, our shared tapestry perceived. Sometimes, truths half-revealed, whispers of depth, Half-scripted life cascades like rain's soft breath. Do we fathom the depths or simply float? A droplet or the sea, in life's rhythmic boat.

Christmas and the New Year were celebrated with vastly more acclaim and spontaneity than in most civilized countries, and there were many other gala days which no voyageur ever passed up without the celebration prescribed in the pays d’en haut. Harmon’s first Christmas in the interior came as somewhat of a shock to him, accustomed to the proprieties of the New England mode of celebration, for he says, “This day being Christmas, our people have spent it as usual in drinking and fighting.”11 Kennicott, however, was alive to the picturesqueness of this class of men and more in sympathy with their methods of self-expression. Consequently his remarks on a Christmas celebration in the Northwest are more detailed and full of interest. “The day after Christmas, Flett gave a Christmas ball…. The dancing was, I may say without vulgarity, decidedly ‘stunning.’ I should hardly call it graceful. The figures, if they may be called such, were only Scotch reels of four, and jigs; and … the main point to which the dancers’ efforts seemed to tend, was to get the largest amount of exercise out of every muscle in the frame…. The music consisted of a very bad performance of one vile, unvarying tune, upon a worse old fiddle, accompanied by a brilliant accompaniment upon a large tin pan.

With a deep breath, I extend my arms, beginning with an adagio, syncing with the melody of the flowers. When I find comfort in the rhythm, I dip into a cambré, sweeping my body into a whirlpool as I rise. I hesitate as plumes of color emerge from the ground, encompassing me in a veil of fuchsia, amber, and gold. The colors gather me, and I move with them like the language of fire--- hot, quick steps, languid and elegant. The forest begins to change, and my eyes widen. When I began my bourrée steps, foxgloves sprout like lace-crafted trumpets, marrying the sound of blooming hibiscuses, rattling like tambourines. With every step I take, more flowers grow, kissing the earth with their velvet lips. I almost swear I hear the ground sing back, harmonizing with the forest's song. I guess the angel was right. With a glimmer of confidence, I burst into a grand jeté, and golden hummingbirds mimic me, tracing my every move as I dive into a piqué manège. Damien's eyes glisten, and it fills my spirit.With every chassé, the forest unravels in color. Fireflies come to life and kiss my cheeks, circling my body in a lattice as I pirouette. New colors rise from the ground--- topaz, lazuli, and chartreuse--- dancing with me like my own ensemble, I transition into my fouettés, leaning into an arabesque, as if to touch the rising moon. I lose all sense of self, leaping into the air. My body transcends into a wind-like creature, moving wildly with mild grace. New life sprouts, as if this world belongs to me and not the angels. Tiny stars emerge in a trail behind my feet, and I climb them like stairs. Damien smiles. I reach for his hand and lift him onto the steps. His hands wrap around my waist, and together we spin higher into the sky. My grip around his shoulders tenses as we rise closer and closer to the Heavens. I can feel Luna radiating over me. I'm in command. Here, I'm free. I wish I could hold on to this moment forever.

God in heaven, Windham. Did Her Grace have no influence on her menfolk whatsoever?” “Of course, she did. I am a very good dancer. I have some conversation. I know how to dress and how to flirt with the wallflowers.” “But one expects a certain dignity from the ducal household. Did your papa have no influence on you?” “A telling influence. Thanks to him, my brothers and I learned to indulge in the foregoing mischief and a great deal more without getting caught.” Darius eyed his companion skeptically. “And here I thought you must have been spouting King James in utero, reciting the royal succession by the time you were out of nappies, and strutting about with a quizzing glass by the age of seven.” “That would be more my brother Gayle, though Anna has gotten him over the worst of it. The man is too serious by half.” “And you’re not?” Darius was carefully surveying the surrounds as he posed this question. “I am the soul of levity,” Val rejoined straight-faced.

You look as if you’ve just lost your best friend.” Eve took a place beside Jenny on this observation, which leavened Jenny’s sense of desolation with a spike of resentment. “With all my family around me, how could I possibly be in want of companionship?” Eve watched their mutual siblings stepping through a minuet while their brother Valentine held forth at the piano. “The same way I can long to dance while the minuet plays all around me.” Marriage had settled Eve, and impending motherhood had only honed her already formidable instincts. “You’re admiring your husband, Lady Deene, even when you can’t dance with him.” “He’s promised me a waltz, though Valentine will probably find one to play at the speed of a dirge.” She fell silent for a moment as the dancers one-two-three’d around the space created by the music room and an adjoining parlor. “You would make a wonderful mother, Jenny.” The worst pain was not in the words Eve offered, but the combination of pleading and pity with which she offered them. “Becoming a mother usually contemplates becoming a wife first, and I’ve no wish to wed some man for the sole purpose of bearing his babies.” Not the sole purpose… As the dancers twirled and smiled, it occurred to Jenny that Victor had made her promise not to stop painting, but he hadn’t said anything specific about eschewing motherhood. Had he? Another pause in the conversation, while the music played on. Eve, however, was notably tenacious, so Jenny waited for the next salvo, and Eve did not disappoint. “You look at Bernward the way I look at Deene, the way Maggie looks at Benjamin, the way—” “Louisa looks at Joseph, I suppose.” And Sophie at her baron too, of course. They needn’t start on how the Windham brothers regarded their respective wives. “Louisa’s gaze is a touch more voracious. I was going to say, the way Mama looks at Papa.” Ouch. Ouch, indeed. The duke and duchess turned down the room with the grace of a more elegant age, and yet, their gazes spoke volumes about the sheer pleasure of sharing a dance. Jenny stated the obvious as matter-of-factly as possible. “Their Graces dance beautifully.” Eve’s feet were propped on a hassock. She wiggled her toes in time with the music, the left and right foot partnering each other. “Bernward also dances quite well.” Elijah was dancing with Valentine’s lady, Ellen’s preferred partner being ensconced at the keyboard, as usual. “Bernward is dancing carefully, lest Valentine take exception.” Eve twitched her skirts. “Bernward is dancing with one eye on you, you ninnyhammer, and with the certain knowledge that all three of our brothers are waiting for him to come over here and get you to stand up with him. How many more times do you think you can check on the punch bowl between sets without Bernward taking insult?” Check

Jenny, what can I do to help?” Westhaven’s expression was merely genial, but in his words, Jenny heard determination and that most dratted of holiday gifts, sibling concern. “Help?” “You’re quiet as a dormouse. Maggie says you’re chewing your nails. Louisa reports that you’re taking odd notions, and Sophie won’t say anything, but she’s clearly worried. Her Grace muttered something about regretting all the time she’s permitted you to spend among the paint fumes.” “What would Her Grace know of paint fumes?” What would the duchess know of anything relating to painting? “She’s our mother. Where knowledge fails, maternal instinct serves. Is Bernward troubling you?” Westhaven was an excellent dancer, and if Jenny did not finish the dance with him, Her Grace would casually suggest that tomorrow be a day to rest from the activity in the studio. The idea made Jenny desperate. “Westhaven, you must not involve yourself in anything to do with Elijah.” “Elijah.” Westhaven’s gaze shifted to a spot over Jenny’s shoulder. “And does he call you Jenny?” He calls me Genevieve, and sometimes he even calls me “woman.” “He calls me talented and brilliant but uneducated and unorthodox too. I’ve enjoyed working with him these past weeks more than anything—” “Excuse me.” Elijah had tapped Westhaven on the shoulder. “May I cut in?” Westhaven’s smile was diabolical. “Of course. Jenny would never decline an opportunity to dance with a family friend.” Family friend? Her blighted, interfering, perishing brother was laying it on quite thick. Elijah bowed. “Lady Genevieve, may I have what remains of this dance?” Two days remained. Two days and three nights. Jenny curtsied and assumed waltz position. As Elijah’s hand settled on her back, his scent wafted to her, enveloping her in his presence. “You’re avoiding me,” he said. “You needn’t. I’ll be leaving soon, and I hope we can at least part friends.” With her siblings, she could dissemble and maintain appearances, but with Elijah… “I am honored you think me a friend, Elijah.” And he danced wonderfully, with the same sense of assurance and mastery that he undertook painting… and lovemaking. “I am your friend too, Genevieve.

You made a good choice for your Naga,” she assured me. “Danica is more graceful on a dais than half the serpents I know.” “Provided she isn’t blushing too brightly to see,” another quipped. “The first time I saw our queen perform, I thought she was a lost cause--far too uptight, like most avians--but I’m glad to be proved wrong.” I knew I was grinning. I had never doubted that Danica could learn the serpent art. Much of her loved my world; a part of her craved dance as surely as anyone else in this nest did. Perhaps that thirst came from her time dancing with the currents of air far above where we earthbound creatures roamed, or perhaps it came from the expressive nature her own world forced her to hide. Similar conversation flowed among us until A’isha’s musical voice commanded me, “Zane, admire your queen.” The words brought our attention to the back of the room, where Danica had emerged, looking so beautiful that she took my breath away. In response to her teacher’s words, Danica smiled and shook her head, causing her golden hair to ripple about her face. It made my heart speed and my breath still, as if I was afraid the next movement would shatter the world. She was a spark of fire in sha’Mehay. The serpiente dress rippled around the hawk’s long legs, the fabric so light it moved with the slightest shift of air. The bodice was burgundy silk; it laced up the front with a black ribbon, and though it was more modest than many dancers’ costumes, it still revealed enough cream-and-roses skin to tantalize the imagination. On Danica’s right temple, A’isha had painted a symbol for courage; beneath her left collarbone lay the symbols for san’Anhamirak, abandon and freedom. “You dance every day with the wind. This is not so different,” A’isha said encouragingly to Danica. “Now, look at the man you love and dance for him.” The nest hushed, faces turning to their Naga. Her cheeks held more color than usual, which A’isha addressed with a common dancers’ proverb. “There is no place for shame, Danica. If Anhamirak had not wanted beauty admired, she would not have made our eyes desire it. You are art.” Danica stepped out of A’isha’s grip. “If my mother could see me now,” she murmured, but she smiled as she said it.

Westcott gets a ginger ale and a Heineken. He doesn’t want the latter. He has to make the pretense. Sitting beside Regn ("Wren") the front of her black dress opens enough. It is respectable and nothing more. He does not like a woman who flaunts her cleavage. Regn is not one of those women. Westcott cautiously looks to see the elusive hummingbird etched above her right breast. He finds himself inhaling deeply, with complete imperceptibility to anyone who might be watching—though no one is—to catch the scent of her perfume. Sharon drags him onto the dance floor. Her husband doesn’t mind. After all it is innocent. They meander across the floor to Regn who is shaking out a rhythm by herself like so many of the dancers. None of the men ask Regn to dance. Everyone more or less has a date or spouse. Regn and Sharon each take one of Westcott’s hands. The three move together. Or rather they move his limbs. He wants to step lightly, freely, to sweep across the floor. He knows he could if it was just he and Regn and no one was watching. But no, that won’t do either. He wants to dance as a gentleman—to lead and direct this woman with precision, the precision and deliberateness with which he’s pursued her, unwittingly. He wants the world to look upon them and see what he hides. He wants to be applauded and yes, even envied a bit, for his grace and certainty of step. More than anything he wants Regn to move with him. Had he the confidence, the experience, were he a true man, it could never have happened. It is the slow advance that makes her love him. In many ways he is just a boy. She wants to protect him, but sometimes that look, that expression, is so old, determined. He knows what she wants. She can’t deny the way the feeling of being loved makes her feel. It’s been so long.

I waited as Sorcha rose, and when she was ready we walked off toward the trees. No one else seemed to follow us, and the day was pleasant as we enjoyed each other’s company and soaked up the sunshine. I admired the way she carried herself – it was graceful; not in an intentional way, but a natural one. She seemed limber like a dancer, and she was lovely: from the shimmer of her long, dark hair to the liveliness in her eyes that not even uncertainty could drive away.

You feel so overwritten you're like a palimpsest; the original girl almost lost under years of scrawling yet you nurture an illusion of beauty, brush your hair in the dark so when your reflection finally catches up with you you stare straight past that older woman to the skateboard dancers behind hitting the frosty air with exuberant grace. On the loose in the morning city reminds you of lovers, catching the tram to work in last night's laddered stockings, the sharp-edged day already intruding like a hangover. It's not the sex you miss or the hotel mornings but the reassurance of strangers and that wild card. Now everything's played out the same, no surprises in the pack except those dealt by disaster. Early this morning such certainty dragged on your thoughts they stumbled flat-footed through the breakfast silence and you knew neither the apples orchard fresh, crisp as snow nor the blue bowl they posed in were enough. People disappear all the time, emerge like summer snakes newly marked and glittering into a clean desert. Without the photo of a child you carry in your wallet which reminds you who you have become you'd catch a train to Musk or Mollymook, some place your fingers have strayed over. Even thinking that, you turn your face into the wind, keep walking that same old line in your new flamboyant shoes. Oh my treacherous heart.

With a black Stone, you are handsome, wise and a good dancer. Norn saying.

For as long as I can remember, I've known I would be a dancer. From the moment my mother laced a pair of tiny pink ballet slippers on my feet, my destiny was set. I would be just like her, a prima ballerina, one of the greats; gliding across those hallowed stages, moving my audience to tears. Nothing else mattered. Nothing would ever be so true. Or so I thought.

August passed like a dancer, graceful and sweating.

The Duke of Clarence, the king’s beloved brother George, is beside him looking like a true York prince, golden-haired, ready of smile, graceful even in repose, a handsome dainty copy of my husband. He is fair and well made, his bow is as elegant as an Italian dancer’s, and his smile is charming. “Your Grace,” he says. “My new sister. I give you joy of your surprise marriage and wish you well in your new estate.

Sleep came on him as a thief, consciousness stolen like a forgotten coin from his pocket.

Her heart did a backflip against her ribs. No, she told it. You do not fall for a necromancer whose orgasm sets the bed on fire.

My original agenda for requesting your company this afternoon was not to talk your ear off about King William.” She took a bench behind a privet hedge and patted the place beside her. “Your agenda was rescuing me from Mr. Trit-Trot, though I fear you’re too late. He has that blindly determined look in his eye.” “Trit-Trot?” While he took the place beside her, Eve took off her bonnet and set it aside, then smoothed her hand over her hair. When that little delaying tactic was at an end, she grimaced. “Louisa finds these appellations and applies them indiscriminately to the poor gentlemen who come to call. She’s gotten worse since she married. Tridelphius Trottenham, ergo Trit-Trot, and it suits him.” “Dear Trit-Trot has a gambling problem.” One did not share such a thing with the ladies, generally, but if the idiot was thinking to offer for a Windham daughter, somebody needed to sound a warning. And as to that, the idea of Trit-Trot—the man was now doomed to wear the unfortunate moniker forevermore in Deene’s mind—kissing any of Moreland’s young ladies, much less kissing Eve, made Deene’s sanguine mood… sink a trifle. “He also clicks his heels in the most aggravating manner,” Eve said, her gaze fixed on a bed of cheery yellow tulips. “And he doesn’t hold a conversation, he chirps. He licks his fingers when he’s eaten tea cakes, though he’s a passable dancer and has a kind heart.” Bright

A lonely photo sits on the middle shelf, about eye-level with him if he were to gaze over his shoulder. A girl. Young. Long hair tied back in a tight bun on the top of her head. Petite and fit. She wears a skin-tight, pink leotard and ballet shoes with one pointed foot raised high against a beam. Graceful, elegant. Familiar.

Dancing en pointe, or up on the toes, was not originally part of ballet. It came about in the early 1800s as a way of making the dancers appear lighter and more graceful. The

But perhaps, tonight, Eleanor should do as Madeline would do- and live for the moment. Tonight, she would abandon her fears and behave as any young lady would who danced her first dance at her first ball with the most handsome man in the room. Catching a glimpse of the dancers in one of the mirrors, she admired one young lady who moved with grace, who dressed with flare and whose hair looked dashing and sophisticated. As Eleanor watched, the lady imitated Eleanor's movements. She wore Eleanor's clothing. And Eleanor realized... the dashing female was herself. She was the one who danced like a dream. Her haircut had transformed her face. She appeared younger, joyful, strikingly modish. She looked less like Madeline and more like... like Eleanor might have looked if her stepmother had never made her appearance in Eleanor's life. Eleanor laughed at herself. Foolish to think a simple cut could change her, but spying herself unaware made her realize that looks were deceiving. No matter how frightened she felt inside, no one could see past the fashionable facade. No one except Mr. Knight. He took her hand for the promenade and looked into her eyes. He had a way of dancing that was almost like... making love. With him, she felt like the finest dancer in the world. They moved together, and when the music ended, she couldn't restrain her smile. She was happy. Tonight, for this moment, she was happy.

Dear alcohol, we had a deal where you would make me funnier, smarter, and a better dancer . . . I saw the video . . . we need to talk.” —Anonymous

LOCAL ORDINANCES STRICTLY ENFORCED. OBSTREPERY FORBIDDEN. WINKLERS AND SKATIFINCHES BE WARNED! ALL ATTEMPTS AT INSEMINATION MUST BE LICENSED. DANCERS ARE ENJOINED TO GRACE AND DIGNITY; THESE TRAITS ARE APPROVED, SINCE THEY CONTRIBUTE TO THE BEAUTY OF THE DANCE.

On the table behind the built-in bar stood opened bottles of gin, bourbon, scotch, soda, and other various mixers. The bar itself was covered with little delicacies of all descriptions: chips, dips, and little crackers and squares of bread laced with the usual dabs of egg salad and sardine paste. There was a platter of delicious fried chicken wings and a pan of potato-and-egg salad dressed with vinegar. Bowls of lives and pickles surrounded the main dishes, along with trays of red crabapples and little sweet onions on toothpicks. But the centerpiece of the whole table was a huge platter of succulent and thinly sliced roast beef set into an underpan of cracked ice. Upon the beige platter each slice of rare meat had been lovingly laid out and individually folded up into a vulval pattern with a tiny dab of mayonnaise at the crucial apex. The pink-brown folded meat around the pale cream-yellow dot formed suggestive sculptures that made a great hit with all the women present. Petey– at whose house the party was being given and the creator of the meat sculptures– smilingly acknowledged the many compliments on her platter with a long-necked graceful nod of her elegant dancer’s head.

Here's some advice, then: treat Brenna right or I'll kill you. Dantry will dig your grave, and Neil will dance upon it. Fine dancer, is our Neil. He might even pipe you on your way.

had enough dancers in my life, from exotic to professional ballet, to know that they all moved, even when they thought they were standing still, as if their bodies couldn’t help but make grace out of the noise of everyday life.

Vihaela is like a dancer, darting and graceful. Landis is the only Light mage I’ve seen who can match her; he’s not as fast, but his technique is so perfect he doesn’t need to be. Morden almost doesn’t fight at all; he just overwhelms opponents with single crushing attacks which end the battle before it ever really starts.

Dance! Both of you. Afterward I’ll answer whatever questions you like.” A few seconds later, as the old man strode confidently across the dance floor toward a young woman with a severe ponytail and a slit skirt, he was utterly transformed into a lithe, ageless tanguero who pressed the young woman tightly to him and guided her gracefully around the hall. While Max gawked at this unsuspected world, Monsieur Perdu grasped right away where he was. He had read about places like this in a book by Jac. Toes: secret tango milongas in school halls, gymnasiums or deserted barns. There dancers of all levels and ages and every nationality would meet up; some would drive hundreds of miles to savor these few hours. One thing united them: they had to keep their passion for the tango a secret from jealous partners and families who greeted these depraved, suggestive, frivolous moves with disgust and rigid, pinch-mouthed embarrassment.

Thus it went on, each generation adding some flourish to the show; all men will seek honor, even victims doomed to death. It was thought nothing of, just to dodge the horns; you must make a graceful dance of it, and never look flurried or scared, but play the bull as if you loved him. And then, so Lukos says, came the golden age of the bull-dance. There was so much honor in it that the noblest and bravest of the Cretan youth did it for love, to win themselves a name and honor the god. That was the day of the first great bull-leapers; the day the songs are sung of. It is a good while back now, and the young lords and ladies have other pastimes. But sooner than lose the show, they brought in slaves to train. Even now, he says, a kind of glory sticks to a bull-dancer. They think the world of him, if he can keep alive.