Harp In The South Quotes

Having a baby is different from all the ordinary ways of being hurt. it's worth it all. Other pain isn't worth anything, but that is.

And when he got home he started on Mumma. He hated her then, because in her fatness and untidiness and drabness she reminded him of what he himself was when he was sober.

The announcer, in milky tones, rolled out the commercial; it was all about some sort of washing powder that made laundry days a mere frolic in the backyard

Then she said, with piteous defiance, "If I could love her, the Good Lord could, and he won't be too hard on an old lady who didn't have an easy life.

To fill the days up of his dateless year Flame from Queen Helen to Queen Guenevere? For first of all the sphery signs whereby Love severs light from darkness, and most high, In the white front of January there glows The rose-red sign of Helen like a rose: And gold-eyed as the shore-flower shelterless Whereon the sharp-breathed sea blows bitterness, A storm-star that the seafarers of love Strain their wind-wearied eyes for glimpses of, Shoots keen through February's grey frost and damp The lamplike star of Hero for a lamp; The star that Marlowe sang into our skies With mouth of gold, and morning in his eyes; And in clear March across the rough blue sea The signal sapphire of Alcyone Makes bright the blown bross of the wind-foot year; And shining like a sunbeam-smitten tear Full ere it fall, the fair next sign in sight Burns opal-wise with April-coloured light When air is quick with song and rain and flame, My birth-month star that in love's heaven hath name Iseult, a light of blossom and beam and shower, My singing sign that makes the song-tree flower; Next like a pale and burning pearl beyond The rose-white sphere of flower-named Rosamond Signs the sweet head of Maytime; and for June Flares like an angered and storm-reddening moon Her signal sphere, whose Carthaginian pyre Shadowed her traitor's flying sail with fire; Next, glittering as the wine-bright jacinth-stone, A star south-risen that first to music shone, The keen girl-star of golden Juliet bears Light northward to the month whose forehead wears Her name for flower upon it, and his trees Mix their deep English song with Veronese; And like an awful sovereign chrysolite Burning, the supreme fire that blinds the night, The hot gold head of Venus kissed by Mars, A sun-flower among small sphered flowers of stars, The light of Cleopatra fills and burns The hollow of heaven whence ardent August yearns; And fixed and shining as the sister-shed Sweet tears for Phaethon disorbed and dead, The pale bright autumn's amber-coloured sphere, That through September sees the saddening year As love sees change through sorrow, hath to name Francesca's; and the star that watches flame The embers of the harvest overgone Is Thisbe's, slain of love in Babylon, Set in the golden girdle of sweet signs A blood-bright ruby; last save one light shines An eastern wonder of sphery chrysopras, The star that made men mad, Angelica's; And latest named and lordliest, with a sound Of swords and harps in heaven that ring it round, Last love-light and last love-song of the year's, Gleams like a glorious emerald Guenevere's.

Though Eros and Psyche sat vast and magnificent in the front lawn, a prologue to the grand house itself, there was something wonderful- a mysterious and melancholic aspect- about the smaller fountain, hidden within its sunny clearing at the bottom of the south garden. The circular pool of stacked stone stood two feet high and twenty feet across at its widest point. It was lined with tiny glass tiles, azure blue like the necklace of sapphires Lord Ashbury had brought back for Lady Violet after serving in the Far East. From the center emerged a huge craggy block of russet marble, the height of two men, thick at the base but tapering to a peak. Midway up, creamy marble against the brown, the life-size figure of Icarus had been carved in a position of recline. His wings, pale marble etched to give the impression of feathers, were strapped to his outspread arms and fell behind, weeping over the rock. Rising from the pool to tend the fallen figure were three mermaids, long hair looped and coiled about angelic faces: one held a small harp, one wore a coronet of woven ivy leaves, and one reached beneath Icarus’s torso, white hands on creamy skin, to pull him from the deep.

My sister and I grew older. My mother educated us herself, always reminding us that though the Daglan had been vanquished, evil lived on. Evil lurked beneath our very feet, always waiting to devour us. I believe she told us this in order to keep us honest and true, certainly more than she had ever been. Yet as we aged and grew into our power, it became clear that only one throne could be inherited. I loved Helena more than anything. Should she have wanted the throne, it was hers. But she had as little interest in it as I did. It was not enough for my mother. Possessing all she had ever wanted was not enough. “Classic stage mom,” Bryce muttered. My mother remembered the talk of the Daglan—their mention of other worlds. Places they had conquered. And with two daughters and one throne … only entire worlds would do for us. For her legacy. Bryce shook her head again. She knew where this was going. Remembering the teachings of her former mistress, my mother knew she might wield the Horn and Harp to open a door. To bring the Fae to new heights, new wealth and prestige. Bryce rolled her eyes. Same corrupt, delusional Fae rulers, different millennium. Yet when she announced her vision to her court, many of them refused. They had just overthrown their conquerors—now they would turn conqueror, too? They demanded that she shut the door and leave this madness behind her. But she would not be deterred. There were enough Fae throughout her lands, along with some of the fire-wielders from the south, who supported the idea, merchants who salivated at the thought of untapped riches in other worlds. And so she gathered a force. It was Pelias who told her where to cast her intention. Using old, notated star maps from their former masters, he’d selected a world for them.

A little farther south he passes the Music Academy. The building is over a hundred years old, and has been training young musicians for forty. A harp sits atop a cupola facing the street corner. Between the windows of the third and the fourth floor, a rocket-propelled grenade has punched a hole through the wall. Inside, another grenade has blown through the wall in the main concert room, but still Kenan hears the sound of pianos coming from within. Several different pieces are being played in various parts of the building, and the music blends together, sometimes becoming unintelligible, a muddy noise of strings struck by hammers, but every so often one of the songs pauses, creating a space for anothe rto emerge, and a few solitary notes of a melody slip out into the street.

Not to harp on Jane Austen, but do you know why everyone loves Darcy?" "Here we go. Austen has the answer for everything." Shelby laughed outright. There were no six degrees of separation for Rebecca: everything related directly back to Jane.

This was the place where the Darcys lived - Plymouth Street, Surry Hills, Sydney, in an unlucky house which the landlord had renumbered from Thirteen to Twelve-and-a-Half.

He knew exactly what he wanted, he had been working over it in his mind for some seven years now... he had yet to see how much ground he had to use, but neither beauty nor splendor have need of great size. What he wanted was light, light and space, and the upward surge of stone like a growing tree from foundations to vault. No oppression, no darkness, no burden of thick, groaning columns and lowering roofs like the stony weight of guilt. He saw the shape clearly. No chevet of chapels, but a square east end, so that he could have a whole wall of invading light pouring in upon the high altar. Short, strong transepts, lofty aisles, and the clerestory tall and fully glazed above a shallow triforium. The west front with a great, deeply-cut doorway and a vast window above, set back in course on course of moulding, where the light could harp all day long on strings of stone, making even that greyer northern air shine lucid and sharp as the dazzling south. Over the west front two minor turrets, tapering to slender fingers of stone. Over the crossing the great tower, as in Normandy, binding all together, rooting all impregnably into the earth, drawing all erect with it towards heaven. In that tension was the significance of life, and next to light, this he wanted above all, the duality of flesh and spirit, manhood and godhead, the tension of man on his way to God. A noble tower, tall and tapered, its long surfaces so subtly fluted and molded that light and shadow might stroke it into a hundred changing shapes of majesty and beauty as the hours of the daylight passed. Permanence and change, diversity and oneness, in that grey-gold stone that glowed in his memory like - what was Adam's phrase?- a mine of sunshine. There is no growth nor fruitfulness but rises from these paired opposites of darkness and light, earth and heaven. My feet as roots in the earth, my forehead straining into the sun. The tower at once anchoring my church fast to the rock, and translating it into a balanced arrow of light aimed at the sky. There is no beauty where there is doubt or insecurity. A sense of unbalance is the death of art.

A man cannot be convinced against his own convictions, but he can be talked into a state of uncertainty and indecision, which is even worse, for that means that he cannot trade with confidence and comfort. I cannot say that I got all mixed up, exactly, but I lost my poise; or rather, I ceased to do my own thinking. I cannot give you in detail the various steps by which I reached the state of mind that was to prove so costly to me. I think it was his assurances of the accuracy of his figures, which were exclusively his, and the undependability of mine, which were not exclusively mine, but public property. He harped on the utter reliability, as proved time and again, of all his ten thousand correspondents throughout the South. In the end I came to read conditions as he himself read them because we were both reading from the same page of the same book, held by him before my eyes. He has a logical mind. Once I accepted his facts it was a cinch that my own conclusions, derived from his facts, would agree with his own. When he began his talks with me about the cotton situation I not only was bearish but I was short of the market. Gradually, as I began to accept his facts and figures, I began to fear I had been basing my previous position on misinformation. Of course I could not - 128 -