Hound Of Heaven Quotes

I fled Him down the nights and down the days I fled Him down the arches of the years I fled Him down the labyrinthine ways Of my own mind, and in the midst of tears I hid from him, and under running laughter.

There are a lot of bad things out there. Things the Hounds of Heaven were created to destroy." He trailed his finger down the side of my face. "I can't be the hero you want me to be--at least not in that way. But you can, Grace. You don't have to become one of the dark ones. You can fight it. You can turn this curse into a blessing. You can become the hero. You can become truly divine.

He left the room, and closeted himself in the dark, buzzing space where he raised his wasps and plotted the courses of heavenly bodies.

And human love needs human meriting: How has thou merited- Of all man's clotted clay the dingiest clot? Alack, thou knowest not How little worthy of any love thou art! Whom wilt thou find to love ignoble thee Save Me, save only Me?

Whom wilt thou find to love ignoble thee Save Me, save only Me? All which I took from thee I did but take, Not for thy harms. But just that thou might'st seek it in my arms. All which thy child's mistake Fancies as lost, I have stored for thee at home; Rise, clasp My hand, and come!

Daphne Bridgerton, I don't—" "—like my tone, I know." Daphne grinned. "But you love me." Violet smiled warmly and wrapped an arm around Daphne's shoulder. "Heaven help me, I do." Daphne gave her mother a quick peck on the cheek. "It's the curse of motherhood. You're required to love us even when we vex you." Violet just sighed. "I hope that someday you have children—" "—just like me, I know." Daphne smiled nostalgically and rested her head on her mother's shoulder. Her mother could be overly inquisitive, and her father had been more interested in hounds and hunting than he'd been in society affairs, but theirs had been a warm marriage, filled with love, laughter, and children. "I could do a great deal worse than follow your example, Mother," she murmured.

Hero! He was no hero! What did a hero get? An Aes Sedai patting you on the head before she sent you out like a hound to do it again. A noblewoman condescending to favor you with a kiss, or laying a flower on your grave.

O for a Muse of fire, that would ascend The brightest heaven of invention, A kingdom for a stage, princes to act And monarchs to behold the swelling scene! Then should the warlike Harry, like himself, Assume the port of Mars; and at his heels, Leash'd in like hounds, should famine, sword and fire Crouch for employment. But pardon, and gentles all, The flat unraised spirits that have dared On this unworthy scaffold to bring forth So great an object: can this cockpit hold The vasty fields of France? or may we cram Within this wooden O the very casques That did affright the air at Agincourt? O, pardon! since a crooked figure may Attest in little place a million; And let us, ciphers to this great accompt, On your imaginary forces work. Suppose within the girdle of these walls Are now confined two mighty monarchies, Whose high upreared and abutting fronts The perilous narrow ocean parts asunder: Piece out our imperfections with your thoughts; Into a thousand parts divide on man, And make imaginary puissance; Think when we talk of horses, that you see them Printing their proud hoofs i' the receiving earth; For 'tis your thoughts that now must deck our kings, Carry them here and there; jumping o'er times, Turning the accomplishment of many years Into an hour-glass: for the which supply, Admit me Chorus to this history; Who prologue-like your humble patience pray, Gently to hear, kindly to judge, our play.

The black of the ocean waves was the color of the sorrow in my breast, a sorrow that was never far away and always visible.

What discordant vespers do the tinker's goods chime through the long twilight and over the brindled forest road, him stooped and hounded through the windy recrements of day like those old exiles who divorced of corporeality and enjoined ingress of heaven or hell wander forever the middle warrens spoorless increate and anathema. Hounded by grief, by guilt, or like this cheerless vendor clamored at heel through wood and fen by his own querulous and inconsolable wares in perennial tin malediction.

I was once a man, not a great man, not a saintly man, but a good man, and a man nonetheless.

My life was going exactly where I wanted it to until the Devil showed up.

God himself had sent me away. I was truly now among the damned.

Iona stared at me for a long time. “You are going to leave me a widow before I have a chance to become a bride.

Then it kissed me—not as a man would kiss a lover, not with tenderness or even passion. This was a kiss that stole the soul of men. Revulsion at this creature’s kiss was instantly replaced by the warmth stealing through my veins, as if my missing blood were being replenished and contrived to heal me. I craved to keep kissing the beast. My entire being awakened to that kiss feeding me ecstasy, feeding me life.

My freshness is spending its wavering shower in the dust.

The most significant factor lies elsewhere, and it is on this that I intend to concentrate in this first chapter. Why I am a Christian is due ultimately neither to the influence of my parents and teachers, nor to my own personal decision for Christ, but to ‘the Hound of Heaven’. That is, it is due to Jesus Christ himself, who pursued me relentlessly even when I was running away from him in order to go my own way. And if it were not for the gracious pursuit of the Hound of Heaven I would today be on the scrap-heap of wasted and discarded lives.

The old witch bears many giants for sons, and all in the shape of wolves; and from this source are those wolves sprung. The saying runs thus: from this race shall come one that shall be mightiest of all; he that is named Moon-Hound; he shall be filled with the flesh of all those men that die, and he shall swallow the moon, and sprinkle with blood the heavens and all the air; thereof shall the sun lose her shining, and the winds in that day shall be unquiet and roar on every side.

I fled Him, down the nights and down the days; I fled Him, down the arches of the years. I fled Him down the labyrinthine ways Of my own mind, and in the midst of tears I hid from him, and under running laughter.

I did not choose to be a monster—a shell of a man—half-human, half-fiend. I am a tiefling. I am what I am.

How could someone so heavenly provoke such sinful thoughts. - Jude

I am only trying to make up for..." she began timidly, and jumped when the other woman roared. "MAKE UP?  You are trying to make me less!" "No, no, it is not that, truly, I am to blame..." "You take responsibility for my actions?"  Bergitte broke in fiercely.  "I chose to speak to you in Tel'aron'rhiod, I chose to help you, I chose to track Moghedien, and I chose to take you to see her, me, not you Nyneave, me!  I was not your puppet, your pack hound then, and I will not be now.

No one is allowed to be born without a purpose, no one.

Yet ever and anon a trumpet sounds From the hid battlements of Eternity

How could someone so sinful provoke such heavenly thoughts. - Arienne

A moral pursuit! What's that? What is God after?' "'He is after Thompson's love.

I did not mean to be a Christian. I have been very clear about that. My first words upon encountering the presence of Jesus for the first time 12 years ago, were, I swear to God, “I would rather die.” I really would have rather died at that point than to have my wonderful brilliant left-wing non-believer friends know that I had begun to love Jesus. I think they would have been less appalled if I had developed a close personal friendship with Strom Thurmond. At least there is some reason to believe that Strom Thurmond is a real person. You know, more or less. But I never felt like I had much choice with Jesus; he was relentless. I didn’t experience him so much as the hound of heaven, as the old description has it, as the alley cat of heaven, who seemed to believe that if it just keeps showing up , mewling outside your door, you’d eventually open up and give him a bowl of milk. Of course, as soon as you do, you are fucked, and the next thing you know, he’s sleeping on your bed every night, and stepping on your chest at dawn to play a little push-push. I resisted as long as I could, like Sam-I-Am in “Green Eggs and Ham” — I would not, could not in a boat! I could not would not with a goat! I do not want to follow Jesus, I just want expensive cheeses. Or something. Anyway, he wore me out. He won. I was tired and vulnerable and he won. I let him in. This is what I said at the moment of my conversion: I said, “Fuck it. Come in. I quit.” He started sleeping on my bed that night. It was not so bad. It was even pretty nice. He loved me, he didn’t shed or need to have his claws trimmed, and he never needed a flea dip. I mean, what a savior, right? Then, when I was dozing, tiny kitten that I was, he picked me up like a mother cat, by the scruff of my neck, and deposited me in a little church across from the flea market in Marin’s black ghetto. That’s where I was when I came to. And then I came to believe.

The world of shadows and superstition that was Victorian England, so well depicted in this 1871 tale, was unique. While the foundations of so much of our present knowledge of subjects like medicine, public health, electricity, chemistry and agriculture, were being, if not laid, at least mapped out, people could still believe in the existence of devils and demons. And why not? A good ghost story is pure entertainment. It was not until well into the twentieth century that ghost stories began to have a deeper significance and to become allegorical; in fact, to lose their charm. No mental effort is required to read 'The Weird Woman', no seeking for hidden meanings; there are no complexities of plot, no allegory on the state of the world. And so it should be. At what other point in literary history could a man, standing over the body of his fiancee, say such a line as this: 'Speak, hound! Or, by heaven, this night shall witness two murders instead of one!' Those were the days. (introduction to "The Weird Woman")

Even though he was hounded by misfortune, never once did Scholar He think of killing himself.” “Think about it. He had abnormally strong determination,” Xie Lian continued somberly. “He was ground down by so much unfairness, so much injustice. A typical person would've given up or ended everything. Yet he always fought back; he never yielded. Perhaps, once the Reverend of Empty Words clung to him, it didn't bite down on sweet fruit but rather an iron plate. In the end, it broke its teeth and lost thoroughly.” Shi Qingxuan shook his head as he listened. He sighed in earnest. “...I really am nothing compared to that man.

On the rash lustihead of my young powers, I shook the pillaring hours And pulled my life down upon me; grimed with smears, I stand amid the dust o' the mounded years- My mangled youth lies dead beneath the heap.

Every new revelation of God's power and wisdom which science unfolds serves only to restore a balance in our mind between God's power and God's love. The more astronomical the heavens become, the closer they bring God to us.

large lack dogs can be a dark omen, did you know that? they foretell death, just like banshees do, and they follow you, and if you but look at them in the eye you are condemned. still i´d rather see a dog when the time comes. the soft fur and the glassy eyes and the friendly bark of a playful hound, to take me gently to the realms of heaven.

But is not that a rather irreverent way for Thompson to be talking about God, calling Him a hound? What does he mean by comparing God to a hound?' "'Well, he means the pursuit of God.' "'Oh, I see, Thompson is pursuing God, is he?' "'Oh, no. He is rather running away from God.' "'Well, then, God is pursuing Thompson, is that it?' "'Yes, that's it.

CHAPTER ONE A Boy at the Window FOR A LONG TIME AFTER THAT SUMMER, the four Penderwick sisters still talked of Arundel. Fate drove us there, Jane would say. No, it was the greedy landlord who sold our vacation house on Cape Cod, someone else would say, probably Skye. Who knew which was right? But it was true that the beach house they usually rented had been sold at the last minute, and the Penderwicks were suddenly without summer plans. Mr. Penderwick called everywhere, but Cape Cod was booked solid, and his daughters were starting to think they would be spending their whole vacation at home in Cameron, Massachusetts. Not that they didn’t love Cameron, but what is summer without a trip to somewhere special? Then, out of the blue, Mr. Penderwick heard through a friend of a friend about a cottage in the Berkshire Mountains. It had plenty of bedrooms and a big fenced-in pen for a dog—perfect for big, black, clumsy, lovable Hound Penderwick—and it was available to be rented for three weeks in August. Mr. Penderwick snatched it up, sight unseen. He didn’t know what he was getting us into, Batty would say. Rosalind always said, It’s too bad Mommy never saw Arundel—she would have loved the gardens. And Jane would say, There are much better gardens in heaven. And Mommy will never have to bump into Mrs. Tifton in heaven, Skye added to make her sisters laugh. And laugh they would, and the talk would move on to other things, until the next time someone remembered Arundel.

The Poor Law Act of 1834 started the workhouse system. The Act was repealed in 1929, but the system lingered on for several decades because there was nowhere else for the inmates to go, and long-term residents had lost the capacity to make any decisions or look after themselves in the outside world. It was intended as a humane and charitable Act, because hitherto the poor or destitute could be hounded from place to place, never finding shelter, and could lawfully be beaten to death by their pursuers. To the chronically poor of the 1830s the workhouse system must have seemed like heaven: a shelter each night; a bed or communal bed to sleep in; clothing; food – not lavish, but enough, and, in return, work to pay for your keep. The system must have seemed like an act of pure Christian goodness and charity. But, like so many good intentions, it quickly turned sour.

Let us always remember that telescope and microscope in all the range of their discoveries have not uncovered the existence of anything greater than man himself. The most massive star of the Milky Way is not so wonderful as the smallest human child. Moreover man's present entourage of illimitable space and countless circling suns and planets cannot be said to have cost an omnipotent God more trouble, so to speak, than a universe a million times smaller.

Epistle to Miss Blount, On Her Leaving the Town, After the Coronation" As some fond virgin, whom her mother’s care Drags from the town to wholesome country air, Just when she learns to roll a melting eye, And hear a spark, yet think no danger nigh; From the dear man unwillingly she must sever, Yet takes one kiss before she parts for ever: Thus from the world fair Zephalinda flew, Saw others happy, and with sighs withdrew; Not that their pleasures caused her discontent, She sighed not that They stayed, but that She went. She went, to plain-work, and to purling brooks, Old-fashioned halls, dull aunts, and croaking rooks, She went from Opera, park, assembly, play, To morning walks, and prayers three hours a day; To pass her time ‘twixt reading and Bohea, To muse, and spill her solitary tea, Or o’er cold coffee trifle with the spoon, Count the slow clock, and dine exact at noon; Divert her eyes with pictures in the fire, Hum half a tune, tell stories to the squire; Up to her godly garret after seven, There starve and pray, for that’s the way to heaven. Some Squire, perhaps, you take a delight to rack; Whose game is Whisk, whose treat a toast in sack, Who visits with a gun, presents you birds, Then gives a smacking buss, and cries – No words! Or with his hound comes hollowing from the stable, Makes love with nods, and knees beneath a table; Whose laughs are hearty, tho’ his jests are coarse, And loves you best of all things – but his horse. In some fair evening, on your elbow laid, Your dream of triumphs in the rural shade; In pensive thought recall the fancied scene, See Coronations rise on every green; Before you pass th’ imaginary sights Of Lords, and Earls, and Dukes, and gartered Knights; While the spread fan o’ershades your closing eyes; Then give one flirt, and all the vision flies. Thus vanish scepters, coronets, and balls, And leave you in lone woods, or empty walls. So when your slave, at some dear, idle time, (Not plagued with headaches, or the want of rhyme) Stands in the streets, abstracted from the crew, And while he seems to study, thinks of you: Just when his fancy points your sprightly eyes, Or sees the blush of soft Parthenia rise, Gay pats my shoulder, and you vanish quite; Streets, chairs, and coxcombs rush upon my sight; Vexed to be still in town, I knit my brow, Look sour, and hum a tune – as you may now.

Noon. In the middle of Knoll Road. In it up to your waist, wearing your father’s old reindeer sweater, your mother’s fur-lined gloves. Squinting across an infinite ocean of white. Shivering. Breathing. Listening. To nothing. There are no cars, no mailboxes, no traffic islands, no sound. The triple-deckers are now double-deckers and everything’s muffled and buried and gone. You yell and you are the only one yelling. The only one breathing. The only one there. The faint chime of a city plow in the distance. The wail of one of Schoerner’s penned-up hounds. But no one is with you. No one to contradict you. And you dare to close your eyes and fill up your lungs with winter, your destiny before you like a map of the world. And the wind seems to whisper promises, and you, with arms outstretched and chin to the heavens, swear oaths back to the wind - little things, like fulfilling prophecies and charting new courses and going forth from this time and this place to do great and wondrous things. But first, of course, it will be necessary to get high.

Will you come and tell me when the music ends When the musicians are swallowed in flames Every instrument blackening and crumbling to ash When the dancers stumble and sprawl their diseased limbs rotting off and twitching the skin sloughing away Will you come and tell me when the music ends When the stars we pushed into the sky loose their roars And the clouds we built into visible rage do now explode When the bright princes of privilege march past with dead smiles falling from their faces a host of deceiving masks Will you come and tell me when the music ends When reason sinks into the morass of superstition Waging a war of ten thousand armies stung to the lash When we stop looking up even as we begin our mad running into stupidity’s nothingness with heavenly choirs screaming Will you come and tell me when the music ends When the musicians are no more than black grinning sticks Every instrument wailing its frantic death cry down the road When the ones left standing have had their mouths cut off leaving holes from which a charnel wind eternally blows

Please,” they say, and their eyes glitter in the light. “Tell us what he found inside the goddess’s magical book.” “When Aethon peered into it,” she says, “he saw the heavens and the earth and all its lands scattered around the ocean, and all the animals and birds upon it. The cities were full of lanterns and gardens, and he could faintly hear music and singing, and he saw a wedding in one city with girls in bright linen robes, and boys with gold swords on silver belts, jumping through rings, doing handsprings and leaping and dancing in time. But on the next page he saw dark, flaming cities in which men were slaughtered in their fields, their wives enslaved in chains, and their children pitched over the walls onto pikes. He saw hounds eating corpses, and when he bent his ear low to the pages, he could hear the wailing. And as he looked, turning the leaf over and back, Aethon saw that the cities on both sides of the page, the dark ones and the bright ones, were one and the same, that there is no peace without war, no life without death, and he was afraid.

To really be free of fear involves being free of the feeling of any personal responsibility of ownership for everything - even of our body. If we feel that we are a separate individual who personally owns or possesses even just a body, fear will hound us. What we feel we own is felt to be personal and what is felt to be personal is felt to be separate from others and life, and then fear seems warranted. But when nothing is experienced as personal then nothing is felt to be separate and fear falls away. So regardless of how much money, if any, we have in the bank and how many material possessions we own, each of us is invited to the deeper surrender of ‘owning without owning’.

The 1890s were apprentice years for Yeats. Though he played with Indian and Irish mythology, his symbolism really developed later. The decade was for him, as a poet, the years of lyric, of the Rhymers’ Club, of those contemporaries whom he dubbed the ‘tragic generation’. ‘I have known twelve men who killed themselves,’ Arthur Symons looked back from his middle-aged madness, reflecting on the decade of which he was the doyen. The writers and artists of the period lived hectically and recklessly. Ernest Dowson (1867–1900) (one of the best lyricists of them all – ‘I cried for madder music and for stronger wine’) died from consumption at thirty-two; Lionel Johnson (1867–1902), a dipsomaniac, died aged thirty-five from a stroke. John Davidson committed suicide at fifty-two; Oscar Wilde, disgraced and broken by prison and exile, died at forty-six; Aubrey Beardsley died at twenty-six. This is not to mention the minor figures of the Nineties literary scene: William Theodore Peters, actor and poet, who starved to death in Paris; Hubert Crankanthorpe, who threw himself in the Thames; Henry Harland, editor of The Yellow Book, who died of consumption aged forty-three, or Francis Thompson, who fled the Hound of Heaven ‘down the nights and down the days’ and who died of the same disease aged forty-eight. Charles Conder (1868–1909), water-colourist and rococo fan-painter, died in an asylum aged forty-one.

Yet when, one day, standing on the outskirts of Yokohama town, bristling with its display of modern miscellanies, I watched the sunset in your southern sea, and saw its peace and majesty among your pine-clad hills,—with the great Fujiyama growing faint against the golden horizon, like a god overcome with his own radiance,—the music of eternity welled up through the evening silence, and I felt that the sky and the earth and the lyrics of the dawn and the dayfall are with the poets and idealists, and not with the marketmen robustly contemptuous of all sentiment,—that, after the forgetfulness of his own divinity, man will remember again that heaven is always in touch with his world, which can never be abandoned for good to the hounding wolves of the modern era, scenting human blood and howling to the skies.

There comes a time in most of our lives in which we no longer have the strength to lift ourselves out or to pretend ourselves strong. Sometimes our minds want to break because life stomped on us and God didn’t stop it. Like a family who watches their loved one slip and fall onto the rocks on a mountainside vacation when all was supposed to be beautiful and fun; or like a parent whose child was mistreated or shot while at school. Charles and those who lost their loved ones that terrible day had to come to terms with suffering in a house of God while the word was preached and a prankster cackled. Questions fill our lungs. We mentally wheeze. We go numb. When on vacation or at school or at church, that kind of thing is not supposed to happen there. Even the knees of a Jesus-follower will buckle. Charles’ wife, Susannah, said of Charles at that time, “My beloved’s anguish was so deep and violent, that reason seemed to totter in her throne, and we sometimes feared that he would never preach again.”5 Though it cannot be said for all of us or for every person that we have loved, it remains true that, in this cherished case, Charles Spurgeon did preach again. But sorrows of many kinds haunted and hounded him for the rest of his life. His depression came, not only from circumstances, or from questions about whether or not he was consecrated to God, but also from the chemistry of his body. God gave to us a preacher who knew firsthand what it felt like for his reason to totter, not just once, but many times during his life and ministry. And somehow this fellow sufferer named Charles and his dear wife Susannah (who also suffered physically most of her adult life) still made a go of it, insisting to each other and to their generation that the sorrowing have a Savior. On that November morning, in weakness, Charles did what some of us are not yet able to do in our sorrows; he read the Bible. Perhaps it will comfort you to learn that for a while “the very sight of the Bible” made Charles cry.6 Many of us know what this feels like. But this Scripture passage, Philippians 2:9-11, “had such a power of comfort upon [his] distressed spirit.” And being found in human form, he [Jesus] humbled himself by becoming obedient to the point of death, even death on a cross. Therefore God has highly exalted him and bestowed on him the name that is above every name (Phil. 2:8-9). From this Scripture, Charles set the larger story of his hope before us. The same Heavenly Father who picked up His son out of the muck, misery and mistreatment can do the same for us.

C. S. Lewis once wrote that stories have a unique knack of getting under our skin and hitting us at a deeper level than our thoughts. They can strengthen old certainties and open doors we thought were locked. Stories have the power to express the inexpressible and provide answers to questions that can be answered in no other way. Stories—whether told in word, picture, song or verse—have the ability to satisfy a deep longing in each of us.

dread three-headed hound of hell, Cerberus.

It was all the fault of the Hound. They said, when once you saw him, your life was forever changed.

Lord God, You are the Hound of heaven who hunts the lost down and captures us with grace. Today, make me the hound of now who hunts for glory and captures joy with just that one word: Thanks.

All which I took from thee I did but take, Not for thy harms. But just that thou might'st seek it in My arms.

The stars, are they not confetti? There is a direct relation between the number of them and the triviality of you. Squint your eyes. The constellation of a long slender hound appears, marking the heavens more objectively than dippers or crabs or bowmen. Trace it with your finger. The dog glares as if perturbed by your discovery. Heaven is not a Rorschach after all. Perhaps the ancients didn’t name him for a reason, or only spoke the name during ceremonies where his guidance was sought, his wrath placated. They looked to the stars and the stars looked back. What became of them? Survival was not among the blessings from this deity. His ferocity makes him more humanlike than one of love. Close your eyes and seize the earth. So solid. So flat and stationary. Your senses are liars and fools. “What about those other universes he was talking about?” you whisper, assuming the fetal position. It worked once. “Screw it. All politics is local. As long as they aren’t connected they don’t dilute the significance of this one.” The hound in the sky continues to scowl, as he did before you were born, before all men were born.

I fled Him, down the nights and down the days; I fled Him, down the arches of the years; I fled Him, down the labyrinthine ways Of my own mind; and in the mist of tears. —“The Hound of Heaven” (FRANCIS THOMPSON, 1859–1907)

As Francis Thompson wrote in his classic poem “The Hound of Heaven,” “Is my gloom, after all, shade of His hand outstretched caressingly?

(H)is art is made of darkness and light. It is glorious yet grotesque, divine yet close to the earth, highly intelligent yet easy to understand. It presents a gospel to the poor. (...) Caravaggio understood that the gospel was (...) a power vital for the languishing. It was a message of grit and hope for the vile and desperate. It was the promise of God at work in a world of prostitutes and magistrates and murders and those chased by the hounds of heaven.

Israel's history is a story of a spurned husband who is rejected by a scornful wife. But it's a story of a spurned husband who refuses to give up on His bride. His bride spurns Him and finds other husbands, but He woos her back. He is the relentless, pursuing Hound of Heaven.

large black dogs can be a dark omen, did you know that? they foretell death, just like banshees do, and they follow you, and if you but look at them in the eye you are condemned. still I´d rather see a dog when the time comes. the soft fur and the glassy eyes and the friendly bark of a playful hound, to take me gently to the realms of heaven.

Herald the weirdos! Summon the losers and the freaks. Here come the frightened and forgotten with fire in their eyes. They walk tall and trees applaud, skyscrapers bow, mountains are dwarfed by these children of another dimension. Their prayers summon the hounds of heaven and invoke the ancient dream of Eden. And this vision will be. It will come to pass; it will come easily; it will come soon.

YIP YIP HURRAY City dog fans cheer Pope on hound heaven 374 words BY DALE W. EISINGER and LARRY McSHANE NEW YORK DAILY NEWS