Grape Wine Quotes

If reassurances could dull pain, nobody would ever go to the trouble of pressing grapes.

Of course, we can't visit every place or meet every person or do every job, yet most of what we'd feel in any life is still available. We don't have to play every game to know what winning feels like. We don't have to hear every piece of music in the world to understand music. We don't have to have tried every variety of grape from every vineyard to know the pleasure of wine. Love and laughter and fear and pain are universal currencies. We just have to close our eyes and savour the taste of the drink in front of us and listen to the song as it plays. We are as completely and utterly alive as we are in any other life and have access to the same emotional spectrum.

I've heard that men are like fine wine. They begin as grapes, and it's up to women to stomp the shit out of them until they turn into something acceptable to have dinner with.

Humans! They lived in a world where the grass continued to be green and the sun rose every day and flowers regularly turned into fruit, and what impressed them? Weeping statues. And wine made out of water! A mere quantum-mechanistic tunnel effect, that'd happen anyway if you were prepared to wait zillions of years. As if the turning of sunlight into wine, by means of vines and grapes and time and enzymes, wasn't a thousand times more impressive and happened all the time...

I don’t want my love with her to wither like grapes on a vine, so I’ll water it with romance to turn it into wine.

Wherever you look there’s meanness and corruption. This room, this bottle of grape wine, these fruits in the basket, are all products of profit and loss. A fellow can’t live without giving his passive acceptance to meanness. Somebody wears his tail to a frazzle for every mouthful we eat and every stitch we wear—and nobody seems to know. Everybody is blind, dumb, and blunt-headed—stupid and mean.

Only a fool tries to reconstruct a bunch of grapes from a bottle of wine.

Wisdom doesn't automatically come with old age. Nothing does - except wrinkles. It's true, some wines improve with age. But only if the grapes were good in the first place.

guilt to motherhood is like grapes to wine

Alcohol makes other people less tedious, and food less bland, and can help provide what the Greeks called entheos, or the slight buzz of inspiration when reading or writing. The only worthwhile miracle in the New Testament—the transmutation of water into wine during the wedding at Cana—is a tribute to the persistence of Hellenism in an otherwise austere Judaea. The same applies to the seder at Passover, which is obviously modeled on the Platonic symposium: questions are asked (especially of the young) while wine is circulated. No better form of sodality has ever been devised: at Oxford one was positively expected to take wine during tutorials. The tongue must be untied. It's not a coincidence that Omar Khayyam, rebuking and ridiculing the stone-faced Iranian mullahs of his time, pointed to the value of the grape as a mockery of their joyless and sterile regime. Visiting today's Iran, I was delighted to find that citizens made a point of defying the clerical ban on booze, keeping it in their homes for visitors even if they didn't particularly take to it themselves, and bootlegging it with great brio and ingenuity. These small revolutions affirm the human.

When we are crushed like grapes, we cannot think of the wine we will become.

What I do, and what I dream include thee, as the wine must taste of its own grapes.

If the grape is made of wine, then perhaps we are the words that tell who we are

You’ll find out it’s little savors and little things that count more than big ones. A walk on a spring morning is better than an eighty-mile ride in a hopped-up car, you know why? Because it’s full of flavors, full of a lot of things growing. You’ve time to seek and find. I know, you’re after the broad effect now, I suppose that’s fit and proper. But you got to look at grapes as well as watermelons. You greatly admire skeletons and I like fingerprints; well, and good. Right now such things are bothersome to you, and I wonder if it isn’t because you never learned to use them. If you had your way you’d pass a law to abolish all the little jobs, the little things. But then you’d leave yourselves nothing to do between the big jobs and you’d have a devil of a time thinking up things? Cutting grass and pulling weeds can be a way of life.

Right now everyone is drinking bad wine made of sour grapes and hysteria. Let them drink it, and let them regret it in the morning.

Ol' man Simon, planted a diamond. Grew hisself a garden the likes of none. Sprouts all growin' comin' up glowin' Fruit of jewels all shinin' in the sun. Colors of the rainbow. See the sun and the rain grow sapphires and rubies on ivory vines, Grapes of jade, just ripenin' in the shade, just ready for the squeezin' into green jade wine. Pure gold corn there, Blowin' in the warm air. Ol' crow nibblin' on the amnythyst seeds. In between the diamonds, Ol' man Simon crawls about pullin' out platinum weeds. Pink pearl berries, all you can carry, put 'em in a bushel and haul 'em into town. Up in the tree there's opal nuts and gold pears- Hurry quick, grab a stick and shake some down. Take a silver tater, emerald tomater, fresh plump coral melons. Hangin' in reach. Ol' man Simon, diggin' in his diamonds, stops and rests and dreams about one... real... peach.

The juice of the grape is the liquid quintessence of concentrated sunbeams.

Faith that you will find a way to make wine out of your sour grapes.

Transmutation: • Grapes must be crushed to make wine • Diamonds form under pressure • Olives are pressed to release oil • Seeds grow in darkness Whenever you feel crushed, under pressure, pressed, or in darkness, you’re in a powerful place of transformation/transmutation.

Young man, two are the forces most precious to mankind. The first is Demeter, the Goddess. She is the Earth -- or any name you wish to call her -- and she sustains humanity with solid food. Next came Dionysus, the son of the virgin, bringing the counterpart to bread: wine and the blessings of life's flowing juices. His blood, the blood of the grape, lightens the burden of our mortal misery. Though himself a God, it is his blood we pour out to offer thanks to the Gods. And through him, we are blessed.

It is better to die of drink then to die of thirst.

Let us have wine and woman, mirth and laughter, Sermons and soda water the day after. Man, being reasonable, must get drunk; The best of life is but intoxication: Glory, the grape, love, gold, in these are sunk The hopes of all men, and of every nation; Without their sap, how branchless were the trunk Of life's strange tree, so fruitful on occasion: But to return--Get very drunk; and when You wake with head-ache, you shall see what then.

Degraded bird, I give you back your eyes forever, ascend now whither you are tossed; Forsake this wrist, forsake this rhyme; Soar, eat ether, see what has never been seen; depart, be lost, But climb.

Except you be fed with the grapes of Love you shall no be filled with the wine of Understanding.

there was something about that city, though it didn't let me feel guilty that I had no feeling for the things so many others needed. it let me alone. sitting up in my bed the lights out, hearing the outside sounds, lifting my cheap bottle of wine, letting the warmth of the grape enter me as I heard the rats moving about the room, I preferred them to humans. being lost, being crazy maybe is not so bad if you can be that way undisturbed. New Orleans gave me that. nobody ever called my name.

Wisdom doesn't automatically come with old age.Nothing does --- except wrinkles.It's true,some wines improves with age.But only if the grapes were good in the first place

You have to grow about eight hundred grapes to get just one bottle of wine. If that isn’t an argument to finish the bottle, I don’t know what is. —Anonymous

wait for me in a song! if you’ve come to dinner, release your dogs, pour the wine into the sky, for all the longing ghosts of the grapes (...)

One of life's gifts is that each of us, no matter how tired and downtrodden, finds reasons for thankfulness: for the crops carried in from the fields and the grapes from the vineyard.

Limit yourself to wines with names you can’t pronounce that are made from grapes harvested during or before Full House season one.

someone was singing and he was alone. for us, you wrote yourself in small letters so we wouldn’t know. from the bitterness of blood, from the nights of the eagles, that music began, but we couldn’t hear it. the grapes are calling their wine, the stranger. (...)

God does not humiliate the righteous. He may fire us in the kiln to make us vessels, crush us like grapes so we become wine--but He never humiliates. That is the game of little people.

A skeptic once said to me, 'I don't believe the Bible because it has miracles.' I said, 'Name one.' He said, 'Turning water into wine. Do you believe that?' I said, 'Yeah, it happens all the time.' He said, 'What do you mean?' I said, 'Well, rain goes through the grapevine up into the grape, and the grape turns into wine. All Jesus did was speed it up a little bit.

Come boy, and pour for me a cup Of old Falernian. Fill it up With wine, strong, sparkling, bright, and clear; Our host decrees no water here. Let dullards drink the Nymph's pale brew, The sluggish thin their blood with dew. For such pale stuff we have no use; For us the purple grape's rich juice. Begone, ye chilling water sprite; Here burning Bacchus rules tonight!

The widest land Doom takes to part us, leaves thy heart in mine With pulses that beat double. What I do And what I dream include thee, as the wine Must taste of its own grapes.

you can’t just move backward. You can’t push the chicken back into the egg, wine back into the grape, the boy back into the womb. If you want the baby to let go of your watch, you don’t just try to explain that he ought to do it—you offer him something he would rather have.

The Californians are an idle, thriftless people, and can make nothing for themselves. The country abounds in grapes, yet they buy, at a great price, bad wine made in Boston...

The most savory grape, the one that produces the wines with best texture and aroma, the sweetest and most generous, doesn't grow in rich soil but in stony land; the plant, with a mother's obstinacy, overcomes obstacles to thrust its roots deep into the ground and take advantage of every drop of water. That, my grandmother explained to me, is how flavors are concentrated in the grape.

But listen! Wherever you look there's meanness and corruption. This room, this bottle of grape wine, these fruits in the basket, are all products of profit and loss. A fellow can't live without giving his passive acceptance to meanness. Somebody wears his tail to a frazzle for every mouthful we eat and every stitch we wear—and nobody seems to know. Everybody is blind, dumb, and blunt-headed—stupid and mean.' Jake

You have forgotten the doctrine of your own church, is it not so? The cross…the bread and wine…the confessional…only symbols. Without faith, the cross is only wood, the bread baked wheat, the wine sour grapes.

How good it is when you have roast meat or suchlike foods before you, to impress on your mind that this is the dead body of a fish, this is the dead body of a bird or pig; and again, that the Falernian wine is the mere juice of grapes, and your purple edged robe simply the hair of a sheep soaked in shell-fish blood! And in sexual intercourse that it is no more than the friction of a membrane and a spurt of mucus ejected. How good these perceptions are at getting to the heart of the real thing and penetrating through it, so you can see it for what it is! This should be your practice throughout all your life: when things have such a plausible appearance, show them naked, see their shoddiness, strip away their own boastful account of themselves. Vanity is the greatest seducer of reason: when you are most convinced that your work is important, that is when you are most under its spell.

I like Rhine wine, blue grapes, good cheese, endive and lots of books, etc., etc., etc., as much as I like supreme fiction.

If you press grapes, wine will pour out; if you crush roses, perfume will pour out; if you afflict the talented, genius will pour out.

You trample on hearts as if they're grapes and you're making wine.

A man who was fond of wine was offered some grapes at dessert after dinner. "Much obliged," said he, pushing the plate aside; "I am not accustomed to take my wine in pills.

I buried my father in my heart. Now he grows in me, my strange son, my little root who won’t drink milk, little pale foot sunk in unheard-of night, little clock spring newly wet in the fire, little grape, parent to the future wine, a son the fruit of his own son, little father I ransom with my life

In war," answered the weaver, "the strong make slaves of the weak, and in peace the rich make slaves of the poor. We must work to live, and they give us such mean wages that we die. We toil for them all day long, and they heap up gold in their coffers, and our children fade away before their time, and the faces of those we love become hard and evil. We tread out the grapes, another drinks the wine. We sow the corn, and our own board is empty. We have chains, though no eye beholds them; and are slaves, though men call us free.

These Americans believed that one great male god ruled the world. Sometimes they divided him into three parts, which they called father, son, and holy ghost. They ate crackers and wine or grape juice, believing that they were eating the son's body and drinking his blood. If they believed strongly enough, they would live on forever after they died.

Personal essay writing, dialectic discourse with the self, is a process of taking ideas and crushing them like grapes to create a homemade wine.

A vine bears three grapes, the first of pleasure, the second of drunkenness, and the third of repentance.

Wine had to be grapes first. Diamonds had to be rocks first. Butterflies had to be caterpillars first. Rainbows had to be storms first.

Some say if life hands you lemons, make lemonade. I say if you're dealing with sour grapes, drink lots of wine.

Proust so titillates my own desire for expression that I can hardly set out the sentence. Oh if I could write like that! I cry. And at the moment such is the astonishing vibration and saturation and intensification that he procures—there’s something sexual in it—that I feel I can write like that, and seize my pen and then I can’t write like that. Scarcely anyone so stimulates the nerves of language in me: it becomes an obsession. But I must return to Swann. My great adventure is really Proust. Well—what remains to be written after that? I’m only in the first volume, and there are, I suppose, faults to be found, but I am in a state of amazement; as if a miracle were being done before my eyes. How, at last, has someone solidified what has always escaped—and made it too into this beautiful and perfectly enduring substance? One has to put the book down and gasp. The pleasure becomes physical—like sun and wine and grapes and perfect serenity and intense vitality combined. Jacques Raverat...sent me a letter about Mrs Dalloway which gave me one of the happiest moments days of my life. I wonder if this time I have achieved something? Well, nothing anyhow compared with Proust, in whom I am embedded now. The thing about Proust is his combination of the utmost sensibility with the utmost tenacity. He searches out these butterfly shades to the last grain. He is as tough as catgut & as evanescent as a butterfly's bloom. And he will I suppose both influence me & make out of temper with every sentence of my own.

In a story, you must always listen for the voice you cannot hear, the one that has been ignored or silenced. In that crushed voice, there is a strain of truth, as a crushed grape yields a drop of wine.

Effective stewardship leads to generative work and a generative culture. We turn wheat into bread—and bread into community. We turn grapes into wine—and wine into occasions for joyful camaraderie, conviviality, conversation, and creativity. We turn minerals into paints—and paints into works that lift the heart or stir the spirit. We turn ideas and experiences into imaginative worlds for sheer enjoyment and to expand the scope of our empathy.

The social prestige of wine at table and at the club must be destroyed through lofty example and polite ridicule; forces which are not always available, and for whose successful operation much time will be required. But the outstanding fact remains, that the world has come to regard liquor in a new and clearer light. Our next generation of poets will contain but few Anacreons, for the thinking element of mankind has robbed the flowing bowl of its fancied virtues and fictitious beauties. The grape, so long permitted to masquerade as the inspirer of wit and art, is now revealed as the mother of ruin and death. The wolf at last stands divested of its sheep’s clothing.

Feast" I drank at every vine. The last was like the first. I came upon no wine So wonderful as thirst. I gnawed at every root. I ate of every plant. I came upon no fruit So wonderful as want. Feed the grape and bean To the vintner and monger: I will lie down lean With my thirst and my hunger.

A good word will spread in the grapevine, bringing forth clusters of grapes and the benevolent of wine; a bad word will spread withering the vines, and choke the potential grapes.

All you need is a few bad grapes to ruin the wine. - Esha

Look for bees,” said Father. “Bees hang around grapes like boys around kitchens, Doug?

Forty-three years old, he is handsome and he knows it, but it's not a view that is held with arrogance. His opinion on his looks are merely understood with the same logic he applies to tasting a fine wine. The grape was merely grown in the right place, under the right conditions. Some degree of nurturing and love mixed with later moments of being completely trampled on and walked all over.

I ride over my beautiful ranch. Betwen my legs is a beautiful horse. The air is wine. The grapes on a score of rolling hills are red with autumn flame. Across Sonoma Mountain, wisps of sea fog are stealing. The afternoon sun smolders in the drowsy sky. I have everything to make me glad I am alive.

The vine needs to suffer. Going down into this earth-fighting to survive among the stones, among the lime rock-this is what gives it its aroma. Its taste. Its unique character. These grapes will create a wine few other vineyards can compare with not because their life was easy, but because they had to struggle to survive.

I'd sit at my kitchen table and start scanning help-wanted ads on my laptop, but then a browser tab would blink and I'd get distracted and follow a link to a long magazine article about genetically modified wine grapes. Too long, actually, so I'd add it to my reading list. Then I'd follow another link to a book review. I'd add the review to my reading list, too, then download the first chapter of the book—third in a series about vampire police. Then, help-wanted ads forgotten, I'd retreat to the living room, put my laptop on my belly, and read all day. I had a lot of free time.

Red wine is different from white. Removing the grape skin does all the difference.

You can only get wine from grapes by crushing them.

When life gives you lemons, give them back and ask for grapes. You can make wine with grapes.

Why did Our Blessed Lord use bread and wine as the elements of this Memorial? First of all, because no two substances in nature better symbolize unity than bread and wine. As bread is made from a multiplicity of grains of wheat, and wine is made from a multiplicity of grapes, so the many who believe are one in Christ. Second, no two substances in nature have to suffer more to become what they are than bread and wine. Wheat has to pass through the rigors of winter, be ground beneath the Calvary of a mill, and then subjected to purging fire before it can become bread. Grapes in their turn must be subjected to the Gethsemane of a wine press and have their life crushed from them to become wine. Thus, do they symbolize the Passion and Sufferings of Christ, and the condition of Salvation, for Our Lord said unless we die to ourselves we cannot live in Him. A third reason is that there are no two substances in nature which have more traditionally nourished man than bread and wine. In bringing these elements to the altar, men are equivalently bringing themselves. When bread and wine are taken or consumed, they are changed into man's body and blood. But when He took bread and wine, He changed them into Himself.

A Persian, a Turk, an Arab, and a Greek were traveling to a distant land when they began arguing over how to spend the single coin they possessed among themselves. All four craved food, but the Persian wanted to spend the coin on angur; the Turk, on uzum; the Arab, on inab; and the Greek, on stafil. The argument became heated as each man insisted on having what he desired. A linguist passing by overheard their quarrel. “Give the coin to me,” he said. “I undertake to satisfy the desires of all of you.” Taking the coin, the linguist went to a nearby shop and bought four small bunches of grapes. He then returned to the men and gave them each a bunch. “This is my angur!” cried the Persian. “But this is what I call uzum,” replied the Turk. “You have brought me my inab,” the Arab said. “No! This in my language is stafil,” said the Greek. All of a sudden, the men realized that what each of them had desired was in fact the same thing, only they did not know how to express themselves to each other. The four travelers represent humanity in its search for an inner spiritual need it cannot define and which it expresses in different ways. The linguist is the Sufi, who enlightens humanity to the fact that what it seeks (its religions), though called by different names, are in reality one identical thing. However—and this is the most important aspect of the parable—the linguist can offer the travelers only the grapes and nothing more. He cannot offer them wine, which is the essence of the fruit. In other words, human beings cannot be given the secret of ultimate reality, for such knowledge cannot be shared, but must be experienced through an arduous inner journey toward self-annihilation. As the transcendent Iranian poet, Saadi of Shiraz, wrote, I am a dreamer who is mute, And the people are deaf. I am unable to say, And they are unable to hear.

This We Have Now This we have now is not imagination. This is not grief or joy. Not a judging state, or an elation, or sadness. Those come and go. This is the presence that doesn't. It's dawn, Husam, here in the splendor of coral, inside the Friend, the simple truth of what Hallaj said. What else could human beings want? When grapes turn to wine they're wanting this. When the nightsky pours by, it's really a crowd of beggars, and they all want some of this! This that we are now created the body, cell by cell, like bees building a honeycomb. The human body and the universe grew from this, not this from the universe and the human body.

My love, suddenly your hip is the curve of the wineglass filled to the brim, your breast is the cluster, your hair the light of alcohol, your nipples, the grapes your navel pure seal stamped on your barrel of a belly, and your love the cascade of unquenchable wine, the brightness that falls on my senses, the earthen splendor of life.

What would it be like, I wondered, to live with that heightened sensitivity to the lives given for ours? To consider the tree in the Kleenex, the algae in the toothpaste, the oaks in the floor, the grapes in the wine; to follow back the thread of life in everything and pay it respect?

Go from me. Yet I feel that I shall stand Henceforth in thy shadow. Nevermore Alone upon the threshold of my door Of individual life, I shall command The uses of my soul, nor lift my hand Serenely in the sunshine as before, Without the sense of that which I forbore-- Thy touch upon the palm. The widest land Doom takes to part us, leaves thy heart in mine With pulses that beat double. What I do And what I dream include thee, as the wine Must taste of its own grapes. And when I sue God for myself, He hears that name of thine, And sees within my eyes the tears of two.

I don't think it is enough appreciated how much an outdoor book the Bible is. It is a "hypaethral book," such as Thoreau talked about - a book open to the sky. It is best read and understood outdoors, and the farther outdoors the better. Or that has been my experience of it. Passages that within walls seem improbable or incredible, outdoors seem merely natural. This is because outdoors we are confronted everywhere with wonders; we see that the miraculous is not extraordinary but the common mode of existence. It is our daily bread. Whoever really has considered the lilies of the field or the birds of the air and pondered the improbability of their existence in this warm world within the cold and empty stellar distances will hardly balk at the turning of water into wine - which was, after all, a very small miracle. We forget the greater and still continuing miracle by which water (with soil and sunlight) is turned into grapes.

My great adventure is really Proust. Well-- what remains to be written after that? I’m only in the first volume, and there are, I suppose, faults to be found, but I am in a state of amazement; as if a miracle were being done before my eyes. How, at last, has someone solidified what has always escaped--and made it too into this beautiful and perfectly enduring substance? One has to put the book down and gasp. The pleasure becomes physical--like sun and wine and grapes and perfect serenity and intense vitality combined. Far otherwise is it with Ulysses; to which I bind myself like a martyr to a stake, and have thank God, now finished-- My martyrdom is over. I hope to sell it for £4.10.

When You Return Fallen leaves will climb back into trees. Shards of the shattered vase will rise and reassemble on the table. Plastic raincoats will refold into their flat envelopes. The egg, bald yolk and its transparent halo, slide back in the thin, calcium shell. Curses will pour back into mouths, letters un-write themselves, words siphoned up into the pen. My gray hair will darken and become the feathers of a black swan. Bullets will snap back into their chambers, the powder tamped tight in brass casings. Borders will disappear from maps. Rust revert to oxygen and time. The fire return to the log, the log to the tree, the white root curled up in the un-split seed. Birdsong will fly into the lark’s lungs, answers become questions again. When you return, sweaters will unravel and wool grow on the sheep. Rock will go home to mountain, gold to vein. Wine crushed into the grape, oil pressed into the olive. Silk reeled in to the spider’s belly. Night moths tucked close into cocoons, ink drained from the indigo tattoo. Diamonds will be returned to coal, coal to rotting ferns, rain to clouds, light to stars sucked back and back into one timeless point, the way it was before the world was born, that fresh, that whole, nothing broken, nothing torn apart.

Do you think it will make good wine?” “Probably not,” he said, and laughed. “Then why have you gone to so much trouble?” “Because you never know. The grapes might turn out to reveal some attributes of the wine that you never expected. Something that expresses this place more perfectly than anything you could have planned. You have to…” As Sam paused, searching for the right phrase, Lucy said softly, “You have to take a leap of faith.” Sam gave her an arrested glance. “Yes.” Lucy understood all too well. There were times in life when you had to take a risk that might end in failure. Because otherwise you would be haunted by what you hadn’t done…the paths you hadn’t taken, the things you hadn’t experienced.

Should everything pass away, it couldn’t happen without You. This heart of mines bears Your imprint; it has nowhere else to turn. The eye of the intellect is drunk with You, the wheeling galaxy is humble before You, the ear of ecstasy is in Your hand; nothing happens without You. The soul is bubbling with You, the heart imbibes from You, the intellect bellows in rapture; nothing happens without You. You, my grape wine and my intoxication, my rose garden and my springtime, my sleep and repose; nothing happens without You. You are my grandeur and glory, you are my possessions and prosperity, you are my purest water; nothing happens without You

I understand that there are different expressions of Christianity in different cultures. Contextualization is essential for the growth and expansion of the church. But there is a difference between contextualization and compromise. Using goat's milk for communion in a culture that has never heard of wine or grapes is contextualization; sacrificing the goat is compromise. Having a Saturday night service because we have run out of room in all four Sunday services is contextualization; having a Saturday night service to accommodate and/or appease people who are “too busy” on Sunday is compromise.

That's the trouble with your generation,' said Grandpa. 'Bill, I'm ashamed of you, you a newspaperman. All the things in life that were put here to savor, you eliminate. Save time, save work, you say.' He nudged the grass trays disrespectfully. 'Bill, when your'e my age, you'll find out it's the little savors and little things that count more than big ones. A walk on a spring morning is better than an eighty-mile ride in a hopped-up car, you know why? Because it's full of flavors, full of a lot of things growing. You've time to seek and find. I know--you're after the broad effect now, and I suppose that's fit and proper. But for a young man working on a newspaper, you got to look for grapes as well as watermelons. You greatly admire skeletons and I like fingerprints; well and good. Right now such things are bothersome to you, and I wonder if it isn't because you've never learned to use them. If you had your way you'd pass a law to abolish all the little jobs, the little things. But then you'd leave yourselves nothing to do between the big jobs and you'd have a devil of a time thinking up things to do so you wouldn't go crazy. Instead of that, why not let nature show you a few things? Cutting grass and pulling weeds can be a way of life, son.

You work that you may keep pace with the earth and the soul of the earth. For to be idle is to become a stranger unto the seasons, and to step out of life's procession, that marches in majesty and proud submission towards the infinite. When you work you are a flute through whose heart the whispering of the hours turns to music. Which of you would be a reed, dumb and silent, when all else sings together in unison? Always you have been told that work is a curse and labour a misfortune. But I say to you that when you work you fulfil a part of earth's furthest dream, assigned to you when that dream was born, And in keeping yourself with labour you are in truth loving life, And to love life through labour is to be intimate with life's inmost secret. But if you in your pain call birth an affliction and the support of the flesh a curse written upon your brow, then I answer that naught but the sweat of your brow shall wash away that which is written. You have been told also that life is darkness, and in your weariness you echo what was said by the weary. And I say that life is indeed darkness save when there is urge, And all urge is blind save when there is knowledge, And all knowledge is vain save when there is work, And all work is empty save when there is love; And when you work with love you bind yourself to yourself, and to one another, and to God. And what is it to work with love? It is to weave the cloth with threads drawn from your heart, even as if your beloved were to wear that cloth. It is to build a house with affection, even as if your beloved were to dwell in that house. It is to sow seeds with tenderness and reap the harvest with joy, even as if your beloved were to eat the fruit. It is to charge all things you fashion with a breath of your own spirit, And to know that all the blessed dead are standing about you and watching. Often have I heard you say, as if speaking in sleep, "He who works in marble, and finds the shape of his own soul in the stone, is nobler than he who ploughs the soil. And he who seizes the rainbow to lay it on a cloth in the likeness of man, is more than he who makes the sandals for our feet." But I say, not in sleep but in the overwakefulness of noontide, that the wind speaks not more sweetly to the giant oaks than to the least of all the blades of grass; And he alone is great who turns the voice of the wind into a song made sweeter by his own loving. Work is love made visible. And if you cannot work with love but only with distaste, it is better that you should leave your work and sit at the gate of the temple and take alms of those who work with joy. For if you bake bread with indifference, you bake a bitter bread that feeds but half man's hunger. And if you grudge the crushing of the grapes, your grudge distils a poison in the wine. And if you sing though as angels, and love not the singing, you muffle man's ears to the voices of the day and the voices of the night.

Gazelles are leaping, feeding on the mountains. Near are lakes. Round their shores file shadows black of cedargroves. Aroma rises, a strong hair growth of resin. It burns, the orient, a sky of sapphire, cleft by the bronze flight of eagles. Under it lies the womancity, nude, white, still, cool, in luxury. A fountain murmurs among damask roses. Mammoth roses murmur of scarlet wine grapes. A wine of shame, lust, blood exudes, strangely murmuring.

I could match my cousin Jasper's game-cock maturity with a sturdier fowl. I could tell him that all the wickedness of that time was like the spirit they mix with the pure grape of the Douro, heady stuff full of dark ingredients; it at once enriched and retarded the whole process of adolescence as the spirit checks the fermentation of the wine, renders it undrinkable, so, that it must lie in the dark year in, year out, until it is brought up at last fit for the table. I could tell him, too, that to know and love one other, human being is the root of all wisdom.

He played with the idea, and grew wilful; tossed it into the air and transformed it; let it escape and recaptured it; made it iridescent with fancy, and winged it with paradox. The praise of folly, as he went on, soared into a philosophy, and Philosophy herself became young, and catching the mad music of Pleasure, wearing, one might fancy, her wine-stained robe and wreath of ivy, danced like a bacchante over the hills of life, and mocked the slow Silenus for being sober. Facts fled before her like frightened forest things. Her white feet trod the huge press at which wise Omar sits, till the seething grape-juice rose round her bare limbs in waves of purple bubbles, or crawled in red foam over the vat’s black, dripping, sloping sides.

A rainbow is a storm’s masterpiece. A seed is a flower’s masterpiece. A rock is a diamond’s masterpiece. A butterfly is a caterpillar’s masterpiece. A flame is a spark’s masterpiece. A drop is an ocean’s masterpiece. A brick is a mansion’s masterpiece. A cell is a body’s masterpiece. A nest is a bird’s masterpiece. A flame is a spark’s masterpiece. A note is a symphony’s masterpiece. A flower is a garden’s masterpiece. Herbs are a plant’s masterpiece. Honey is a bee’s masterpiece. Silk is a spider’s masterpiece. Wool is a sheep’s masterpiece. Perfume is a flower’s masterpiece. Syrup is a tree’s masterpiece. Wine is a grape’s masterpiece. Fruit is a seed’s masterpiece. Pearls are an oyster’s masterpiece. Beauty is a sky’s masterpiece. Charm is a star’s masterpiece. Spring is nature’s masterpiece. Time is eternity’s masterpiece. Energy is light’s masterpiece. Heat is fire’s masterpiece. Knowledge is truth’s masterpiece. Thoughts are the mind’s masterpiece. Desires are the heart’s masterpiece. Experiences are the soul’s masterpiece. Intelligence is nature’s masterpiece. Enlightenment is wisdom’s masterpiece. The world is the universe’s masterpiece. Life is the Divine One’s masterpiece. Awareness is life’s masterpiece.

It is all about praising. Created to praise, his heart is a winepress destined to break, that makes for us an eternal wine. His voice never chokes with dust when words for the sacred come through. All becomes vineyard. All becomes grape, ripening in the southland of his being. Nothing, not even the rot in royal tombs, or the shadow cast by a god, gives the lie to his praising. He is ever the messenger, venturing far through the doors of the dead, bearing a bowl of fresh-picked fruit.

It is easy to mourn the lives we aren’t living. Easy to wish we’d developed other talents, said yes to different offers. Easy to wish we’d worked harder, loved better, handled our finances more astutely, been more popular, stayed in the band, gone to Australia, said yes to the coffee or done more bloody yoga. It takes no effort to miss the friends we didn’t make and the work we didn’t do and the people we didn’t marry and the children we didn’t have. It is not difficult to see yourself through the lens of other people, and to wish you were all the different kaleidoscopic versions of you they wanted you to be. It is easy to regret, and keep regretting, ad infinitum, until our time runs out. But it is not the lives we regret not living that are the real problem. It is the regret itself. It’s the regret that makes us shrivel and wither and feel like our own and other people’s worst enemy. We can’t tell if any of those other versions would have been better or worse. Those lives are happening, it is true, but you are happening as well, and that is the happening we have to focus on. Of course, we can’t visit every place or meet every person or do every job, yet most of what we’d feel in any life is still available. We don’t have to play every game to know what winning feels like. We don’t have to hear every piece of music in the world to understand music. We don’t have to have tried every variety of grape from every vineyard to know the pleasure of wine. Love and laughter and fear and pain are universal currencies. We just have to close our eyes and savour the taste of the drink in front of us and listen to the song as it plays. We are as completely and utterly alive as we are in any other life and have access to the same emotional spectrum. We only need to be one person. We only need to feel one existence. We don’t have to do everything in order to be everything, because we are already infinite. While we are alive we always contain a future of multifarious possibility. So let’s be kind to the people in our own existence. Let’s occasionally look up from the spot in which we are because, wherever we happen to be standing, the sky above goes on for ever. Yesterday I knew I had no future, and that it was impossible for me to accept my life as it is now. And yet today, that same messy life seems full of hope. Potential. The impossible, I suppose, happens via living. Will my life be miraculously free from pain, despair, grief, heartbreak, hardship, loneliness, depression? No. But do I want to live? Yes. Yes. A thousand times, yes.

This We Have Now This we have no is not imagination. This is not grief or joy. Not a judging state, or an elation, or sadness. Those come and go. This is the presence that doesn't. It's dawn, Husam, here in the splendor of coral, inside the Friend, the simple truth of what Hallaj said. What else could human beings want? When grapes turn to wine they're wanting this. When the nightsky pours by, it's really a crowd of beggars, and they all want some of this! This that we are now created the body, cell by cell, like bees building a honeycomb. The human body and the universe grew from this, not this from the universe and the human body.

Work is love made visible. And if you cannot work with love but only with distaste, it is better that you should leave your work and sit at the gate of the temple and take alms of those who work with joy. For if you bake bread with indifference, you bake a bitter bread that feeds but half man's hunger. And if you grudge the crushing of the grapes, your grudge distills a poison in the wine. And if you sing though as angels, and love not the singing, you muffle man's ears to the voices of the day and the voices of the night.

Marcus Aurelius had a version of this exercise where he’d describe glamorous or expensive things without their euphemisms—roasted meat is a dead animal and vintage wine is old, fermented grapes. The aim was to see these things as they really are, without any of the ornamentation. We can do this for anyone or to anything that stands in our way. That promotion that means so much, what is it really? Our critics and naysayers who make us feel small, let’s put them in their proper place. It’s so much better to see things as they truly, actually

In Rome on the Campo dei Fiori Baskets of olives and lemons, Cobbles spattered with wine And the wreckage of flowers. Vendors cover the trestles With rose-pink fish; Armfuls of dark grapes Heaped on peach-down. On this same square They burned Giordano Bruno. Henchmen kindled the pyre Close-pressed by the mob. Before the flames had died The taverns were full again, Baskets of olives and lemons Again on the vendors' shoulders. I thought of the Campo dei Fiori In Warsaw by the sky-carousel One clear spring evening To the strains of a carnival tune. The bright melody drowned The salvos from the ghetto wall, And couples were flying High in the cloudless sky. At times wind from the burning Would drift dark kites along And riders on the carousel Caught petals in midair. That same hot wind Blew open the skirts of the girls And the crowds were laughing On that beautiful Warsaw Sunday. Someone will read as moral That the people of Rome or Warsaw Haggle, laugh, make love As they pass by martyrs' pyres. Someone else will read Of the passing of things human, Of the oblivion Born before the flames have died. But that day I thought only Of the loneliness of the dying, Of how, when Giordano Climbed to his burning There were no words In any human tongue To be left for mankind, Mankind who live on. Already they were back at their wine Or peddled their white starfish, Baskets of olives and lemons They had shouldered to the fair, And he already distanced As if centuries had passed While they paused just a moment For his flying in the fire. Those dying here, the lonely Forgotten by the world, Our tongue becomes for them The language of an ancient planet. Until, when all is legend And many years have passed, On a great Campo dei Fiori Rage will kindle at a poet's word.

Consider how textbooks treat Native religions as a unitary whole. ... "These Native Americans ... believed that nature was filled with spirits. Each form of life, such as plants and animals, had a spirit. Earth and air held spirits too. People were never alone. They shared their lives with the spirits of nature." ... Stated flatly like this, the beliefs seem like make-believe, not the sophisticated theology of a higher civilization. Let us try a similarly succinct summary of the beliefs of many Christians today: "These Americans believed that one great male god ruled the world. Sometimes they divided him into three parts, which they called father, son, and holy ghost. They ate crackers and wine or grape juice, believing that they were eating the son's body and drinking his blood. If they believed strongly enough, they would live on forever after they died." Textbooks never describe Christianity this way. It's offensive. Believers would immediately argue that such a depiction fails to convey the symbolic meaning or the spiritual satisfaction of communion.

The first bird I searched for was the nightjar, which used to nest in the valley. Its song is like the sound of a stream of wine spilling from a height into a deep and booming cask. It is an odorous sound, with a bouquet that rises to the quiet sky. In the glare of day it would seem thinner and drier, but dusk mellows it and gives it vintage. If a song could smell, this song would smell of crushed grapes and almonds and dark wood. The sound spills out, and none of it is lost. The whole wood brims with it.

I dreamed I stood upon a little hill, And at my feet there lay a ground, that seemed Like a waste garden, flowering at its will With buds and blossoms. There were pools that dreamed Black and unruffled; there were white lilies A few, and crocuses, and violets Purple or pale, snake-like fritillaries Scarce seen for the rank grass, and through green nets Blue eyes of shy peryenche winked in the sun. And there were curious flowers, before unknown, Flowers that were stained with moonlight, or with shades Of Nature's willful moods; and here a one That had drunk in the transitory tone Of one brief moment in a sunset; blades Of grass that in an hundred springs had been Slowly but exquisitely nurtured by the stars, And watered with the scented dew long cupped In lilies, that for rays of sun had seen Only God's glory, for never a sunrise mars The luminous air of Heaven. Beyond, abrupt, A grey stone wall. o'ergrown with velvet moss Uprose; and gazing I stood long, all mazed To see a place so strange, so sweet, so fair. And as I stood and marvelled, lo! across The garden came a youth; one hand he raised To shield him from the sun, his wind-tossed hair Was twined with flowers, and in his hand he bore A purple bunch of bursting grapes, his eyes Were clear as crystal, naked all was he, White as the snow on pathless mountains frore, Red were his lips as red wine-spilith that dyes A marble floor, his brow chalcedony. And he came near me, with his lips uncurled And kind, and caught my hand and kissed my mouth, And gave me grapes to eat, and said, 'Sweet friend, Come I will show thee shadows of the world And images of life. See from the South Comes the pale pageant that hath never an end.' And lo! within the garden of my dream I saw two walking on a shining plain Of golden light. The one did joyous seem And fair and blooming, and a sweet refrain Came from his lips; he sang of pretty maids And joyous love of comely girl and boy, His eyes were bright, and 'mid the dancing blades Of golden grass his feet did trip for joy; And in his hand he held an ivory lute With strings of gold that were as maidens' hair, And sang with voice as tuneful as a flute, And round his neck three chains of roses were. But he that was his comrade walked aside; He was full sad and sweet, and his large eyes Were strange with wondrous brightness, staring wide With gazing; and he sighed with many sighs That moved me, and his cheeks were wan and white Like pallid lilies, and his lips were red Like poppies, and his hands he clenched tight, And yet again unclenched, and his head Was wreathed with moon-flowers pale as lips of death. A purple robe he wore, o'erwrought in gold With the device of a great snake, whose breath Was fiery flame: which when I did behold I fell a-weeping, and I cried, 'Sweet youth, Tell me why, sad and sighing, thou dost rove These pleasent realms? I pray thee speak me sooth What is thy name?' He said, 'My name is Love.' Then straight the first did turn himself to me And cried, 'He lieth, for his name is Shame, But I am Love, and I was wont to be Alone in this fair garden, till he came Unasked by night; I am true Love, I fill The hearts of boy and girl with mutual flame.' Then sighing, said the other, 'Have thy will, I am the love that dare not speak its name.

As for describing the smell of a spaniel mixed with the smell of torches, laurels, incense, banners, wax candles and a garland of rose leaves crushed by a satin heel that has been laid up in camphor, perhaps Shakespeare, had he paused in the middle of writing Antony and Cleopatra — But Shakespeare did not pause. Confessing our inadequacy, then, we can but note that to Flush Italy, in these the fullest, the freest, the happiest years of his life, meant mainly a succession of smells. Love, it must be supposed, was gradually losing its appeal. Smell remained. Now that they were established in Casa Guidi again, all had their avocations. Mr. Browning wrote regularly in one room; Mrs. Browning wrote regularly in another. The baby played in the nursery. But Flush wandered off into the streets of Florence to enjoy the rapture of smell. He threaded his path through main streets and back streets, through squares and alleys, by smell. He nosed his way from smell to smell; the rough, the smooth, the dark, the golden. He went in and out, up and down, where they beat brass, where they bake bread, where the women sit combing their hair, where the bird-cages are piled high on the causeway, where the wine spills itself in dark red stains on the pavement, where leather smells and harness and garlic, where cloth is beaten, where vine leaves tremble, where men sit and drink and spit and dice — he ran in and out, always with his nose to the ground, drinking in the essence; or with his nose in the air vibrating with the aroma. He slept in this hot patch of sun — how sun made the stone reek! he sought that tunnel of shade — how acid shade made the stone smell! He devoured whole bunches of ripe grapes largely because of their purple smell; he chewed and spat out whatever tough relic of goat or macaroni the Italian housewife had thrown from the balcony — goat and macaroni were raucous smells, crimson smells. He followed the swooning sweetness of incense into the violet intricacies of dark cathedrals; and, sniffing, tried to lap the gold on the window- stained tomb. Nor was his sense of touch much less acute. He knew Florence in its marmoreal smoothness and in its gritty and cobbled roughness. Hoary folds of drapery, smooth fingers and feet of stone received the lick of his tongue, the quiver of his shivering snout. Upon the infinitely sensitive pads of his feet he took the clear stamp of proud Latin inscriptions. In short, he knew Florence as no human being has ever known it; as Ruskin never knew it or George Eliot either.

His sculpture would have joy in it, try to capture the sense of fertility of Dionysus, the nature god, the power of the intoxicating drink that enabled a man to laugh and sing and forget for a while the sorrow of his earthly miseries. And then, perhaps, at the same time he could portray the decay that came with too much forgetfulness, that he saw all around him, when man surrendered his moral and spiritual values for the pleasures of the flesh. The Bacchus would be the central figure of his theme, a human being rather than a demigod; then there would be a child of about seven, sweet- faced, lovable, nibbling from a bunch of grapes. His composition would have death in it too; the tiger, who liked wine and was loved by Bacchus, with the deadest, dead skin and head conceivable

The Drunken Gnat You are the soul of the soul, a door that opens into existence. When separation makes us angry, you strike with a sword. When union becomes vague, you feed it with a vast nothing. Old civilizations start to flourish again. The March sun warms the world with singing. Tambourine and harp, branches covered with buds. Is anyone sober enough to speak with the king? No one. All right. Remember how a gnat once got drunk and walked into the ear of a terrible tyrant, then from there into his brain and killed him? Grape-wine can do that to a gnat. What will the wine of infinity do for us? A cave dog watched over the sleepers. If a dog can be a shepherd, what could the spirit-lion of a human being become? Sparks from a fire lift in the sky and turn to stars. Shams is now a depth of truth that rises every morning in the east.

But it’s not unprocessed grain and grape that we find on the Communion table, it’s bread and wine. Grain and grape come from God’s good earth, but bread and wine are the result of human industry. Bread and wine come about through a cooperation of the human and the divine. And herein lies a beautiful mystery. If grain and grape made bread and wine can communicate the body and blood of Christ, this has enormous implications for all legitimate human labor and industry. The mystery of the Eucharist does nothing less than make all human labor sacred. For there to be the holy sacrament of Communion there must be grain and grape, wheat fields and vineyards, bakers and winemakers. Human labor becomes a sacrament, a farmer planting wheat, a vintner tending vines, a miller grinding wheat, a winemaker crushing grapes, a woman baking bread, a man making wine, a trucker hauling bread, a grocer selling wine. Who knows what bread or what wine might end up on the Communion table as the body and blood of Christ. This is where we discover the holy mystery that all labor necessary for human flourishing is sacred. A farmer plowing his field, a worker in a bakery, a trucker hauling goods, a grocer selling wares—all are engaged in work that is just as sacred as the priest or pastor serving Communion on Sunday. The Eucharist pulls back the curtain to reveal a sacramental world.

The Garden of Proserpine" Here, where the world is quiet; Here, where all trouble seems Dead winds' and spent waves' riot In doubtful dreams of dreams; I watch the green field growing For reaping folk and sowing, For harvest-time and mowing, A sleepy world of streams. I am tired of tears and laughter, And men that laugh and weep; Of what may come hereafter For men that sow to reap: I am weary of days and hours, Blown buds of barren flowers, Desires and dreams and powers And everything but sleep. Here life has death for neighbour, And far from eye or ear Wan waves and wet winds labour, Weak ships and spirits steer; They drive adrift, and whither They wot not who make thither; But no such winds blow hither, And no such things grow here. No growth of moor or coppice, No heather-flower or vine, But bloomless buds of poppies, Green grapes of Proserpine, Pale beds of blowing rushes Where no leaf blooms or blushes Save this whereout she crushes For dead men deadly wine. Pale, without name or number, In fruitless fields of corn, They bow themselves and slumber All night till light is born; And like a soul belated, In hell and heaven unmated, By cloud and mist abated Comes out of darkness morn. Though one were strong as seven, He too with death shall dwell, Nor wake with wings in heaven, Nor weep for pains in hell; Though one were fair as roses, His beauty clouds and closes; And well though love reposes, In the end it is not well. Pale, beyond porch and portal, Crowned with calm leaves, she stands Who gathers all things mortal With cold immortal hands; Her languid lips are sweeter Than love's who fears to greet her To men that mix and meet her From many times and lands. She waits for each and other, She waits for all men born; Forgets the earth her mother, The life of fruits and corn; And spring and seed and swallow Take wing for her and follow Where summer song rings hollow And flowers are put to scorn. There go the loves that wither, The old loves with wearier wings; And all dead years draw thither, And all disastrous things; Dead dreams of days forsaken, Blind buds that snows have shaken, Wild leaves that winds have taken, Red strays of ruined springs. We are not sure of sorrow, And joy was never sure; To-day will die to-morrow; Time stoops to no man's lure; And love, grown faint and fretful, With lips but half regretful Sighs, and with eyes forgetful Weeps that no loves endure. From too much love of living, From hope and fear set free, We thank with brief thanksgiving Whatever gods may be That no life lives for ever; That dead men rise up never; That even the weariest river Winds somewhere safe to sea. Then star nor sun shall waken, Nor any change of light: Nor sound of waters shaken, Nor any sound or sight: Nor wintry leaves nor vernal, Nor days nor things diurnal; Only the sleep eternal In an eternal night.

Then Bacchus and Silenus and the Maenads began a dance, far wilder than the dance of the trees; not merely a dance of fun and beauty (though it was that too) but a magic dance of plenty, and where their hands touched, and where their feet fell, the feast came into existence- sides of roasted meat that filled the grove with delicious smells, and wheaten cakes and oaten cakes, honey and many-colored sugars and cream as thick as porridge and as smooth as still water, peaches, nectarines, pomegranates, pears, grapes, straw-berries, raspberries- pyramids and cataracts of fruit. Then, in great wooden cups and bowls and mazers, wreathed with ivy, came the wines; dark, thick ones like syrups of mulberry juice, and clear red ones like red jellies liquefied, and yellow wines and green wines and yellow-green and greenish-yellow. But for the tree people different fare was provided. When Lucy saw Clodsley Shovel and his moles scuffling up the turf in various places (when Bacchus had pointed out to them) and realized that the trees were going to eat earth it gave her rather a shudder. But when she saw the earths that were actually brought to them she felt quite different. They began with a rich brown loam that looked almost exactly like chocolate; so like chocolate, in fact, that Edmund tried a piece of it, but he did not find it all nice. When the rich loam had taken the edge off their hunger, the trees turned to an earth of the kind you see in Somerset, which is almost pink. They said it was lighter and sweeter. At the cheese stage they had a chalky soil, and then went on to delicate confections of the finest gravels powdered with choice silver sand. They drank very little wine, and it made the Hollies very talkative: for the most part they quenched their thirst with deep draughts of mingled dew and rain, flavored with forest flowers and the airy taste of the thinnest clouds.