β
I?
I walk alone;
The midnight street
Spins itself from under my feet;
My eyes shut
These dreaming houses all snuff out;
Through a whim of mine
Over gables the moon's celestial onion
Hangs high.
β
β
Sylvia Plath
β
I love to smell flowers in the dark," she said. "You get hold of their soul then.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
I'd like to add some beauty to life," said Anne dreamily. "I don't exactly want to make people KNOW more... though I know that IS the noblest ambition... but I'd love to make them have a pleasanter time because of me... to have some little joy or happy thought that would never have existed if I hadn't been born.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
The woods call to us with a hundred voices, but the sea has one only β a mighty voice that drowns our souls in its majestic music. The woods are human, but the sea is of the company of the archangels.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
All in all, it was a never-to-be-forgotten summer β one of those summers which come seldom into any life, but leave a rich heritage of beautiful memories in their going β one of those summers which, in a fortunate combination of delightful weather, delightful friends and delightful doing, come as near to perfection as anything can come in this world.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
Even when I'm alone I have real good company β dreams and imaginations and pretendings. I like to be alone now and then, just to think over things and taste them. But I love friendships β and nice, jolly little times with people.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
My library isn't very extensive but every book in it is a friend.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
Shall we never never get rid of this Past? ... It lies upon the Present like a giant's dead body.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
Thank goodness, we can choose our friends. We have to take our relatives as they are, and be thankfulβ¦
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
What other dungeon is so dark as one's own heart! What jailer so in exorable as one's self!
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
She had never before minded being alone. Now she dreaded it. When she was alone now she felt so dreadfully alone.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
I suppose all this sounds very crazy β all these terrible emotions always do sound foolish when we put them into our inadequate words. They are not meant to be spoken β only felt and endured.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
Human nature will not flourish, any more than a potato, if it be planted and replanted, for too long a series of generations, in the same worn-out soil. My children have had other birthplaces, and, so far as their fortunes may be within my control, shall strike their roots into unaccustomed earth.
β
β
Nathaniel Hawthorne (Selected Works: The Custom-House, The Scarlet Letter, The House of the Seven Gables, The Blithedale Romance, The Marble Faun)
β
But just think what a dull world it would be if everyone was sensible,' pleaded Anne.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
It always amazes me to look at the little, wrinkled brown seeds and think of the rainbows in 'em," said Captain Jim. "When I ponder on them seeds I don't find it nowise hard to believe that we've got souls that'll live in other worlds. You couldn't hardly believe there was life in them tiny things, some no bigger than grains of dust, let alone colour and scent, if you hadn't seen the miracle, could you?
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
She had to live in this bright, red gabled house with the nurse until it was time for her to die... I thought how little we know about the feelings of old people. Children we understand, their fears and hopes and make-believe.
β
β
Daphne du Maurier (Rebecca)
β
Gilbert put his arm about them. 'Oh, you mothers!' he said. 'You mothers! God knew what He was about when He made you.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
But pearls are for tears, the old legend says," Gilbert had objected.
"I'm not afraid of that. And tears can be happy as well as sad. My very happiest moments have been when I had tears in my eyesβwhen Marilla told me I might stay at Green Gablesβwhen Matthew gave me the first pretty dress I ever hadβwhen I heard that you were going to recover from the fever. So give me pearls for our troth ring, Gilbert, and I'll willingly accept the sorrow of life with its joy." -Anne
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
Isn't it terrible the way some unworthy folks are loved, while others that deserve it far more, you'd think, never get much affection?
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
Ah, well, let's not borrow trouble; the rate of interest is too high.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
It is very queer, but not the less true, that people are generally quite as vain, or even more so, of their deficiencies than of their available gifts.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
We came to the comforting conclusion that the Creator probably knew how to run His universe quite as well as we do, and that, after all, there are no such things as 'wasted' lives, saving and except when am individual wilfully squanders and wastes his own life...
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
It's the worst kind of cruelty β the thoughtless kind. You can't cope with it.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
We belong to the race that knows Joseph
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
β¦it's so dreadful to have nothing to love β life is so empty β and there's nothing worse than emptinessβ¦
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
Oh, Marilla, I thought I was happy before. Now I know that I just dreamed a pleasant dream of happiness. This is the reality.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
I find nothing so singular to life as that everything appears to lose its substance the instant one actually grapples with it.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
It's so beautiful that it hurts me,' said Anne softly. 'Perfect things like that always did hurt me β I remember I called it "the queer ache" when I was a child. What is the reason that pain like this seems inseparable from perfection? Is it the pain of finality β when we realise that there can be nothing beyond but retrogression?'
'Perhaps,' said Owen dreamily, 'it is the prisoned infinite in us calling out to its kindred infinite as expressed in that visible perfection.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
I have a little brown cocoon of an idea that may possibly expand into a magnificent moth of fulfilmentβ¦
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
You'll stay right here with me, Anne-girl," said Gilbert lazily. "I won't have you flying away from me into the hearts of storms.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
Our library isn't very extensive," said Anne, "but every book in it is a friend. We've picked our books up through the years, here and there, never buying one until we had first read it and knew that it belonged to the race of Joseph.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
The p'int of good writing is to know when to stop.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
In this republican country, amid the fluctuating waves of our social life, somebody is always at the drowning-point.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
The influential classes, and those who take upon themselves to be leaders of the people, are fully liable to all the passionate error that has ever characterized the maddest mob.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
Life, within doors, has few pleasanter prospects than a neatly-arranged and well-provisioned breakfast-table.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
Heretics are wicked, but they're mighty int'resting. It's jest that they've got sorter lost looking for God, being under the impression that He's hard to find - which He ain't never.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
I feel as if something has been torn suddenly out of my life and left a terrible hole. I feel as if I couldn't be I β as if I must have changed into somebody else and couldn't get used to it. It gives me a horrible lonely, dazed, helpless feeling. It's good to see you again β it seems as if you were a sort of anchor for my drifting soul.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
The dead will only be dead if you stop remembering them.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
But it was a happy and beautiful bride who came down the old, homespun-
carpeted stairs that September noon - the first bride of Green Gables, slender and shining-eyed, in the mist of her maiden veil, with her arms full of roses. Gilbert, waiting for her in the hall below, looked up at her with adoring eyes. She was his at last, this evasive, long-sought Anne, won after years of patient waiting. It was to him she was coming in the sweet surrender of the bride. Was he worthy of her? Could he make her as happy as he hoped? If he failed her - if he could not measure up to her standard of manhood - then, as she held out her hand, their eyes met and all doubt was swept away in a glad certainty. They belonged to each other; and, no matter what life might hold for them, it could never alter that. Their happiness was in each otherβs keeping and both were unafraid.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
Changes come all the time. Just as soon as things get really nice they change,' she said with a sigh.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
Next to the lightest heart, the heaviest is apt to be most playful.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
Yes, red-to give warmth to that milk-white skin and those shining gray-green eyes of yours. Golden hair wouldn't suit you at all Queen Anne-My Queen Anne-queen of my heart and life and home.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
A dead man sits on all our judgment seats; and living judges do but search out and repeat his decisions. We read in dead men's books! We laugh a dead men's jokes, and cry at dead men's pathos!
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
It was a gracious evening, full of delectable lights and shadows. In the west was a sky of mackerel clouds-crimson and amber-tinted, with long strips of apple-green sky between. Beyond was the glimmering radiance of a sunset sea, and the ceaseless voice of many waters came up from the tawny shore.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
Our library isn't very extensive, but every book in it is a friend.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
When he is cheerful--when the sun shines into his mind--then I venture to peep in, just as far as the light reaches, but no further. It is holy ground where the shadow falls!
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
I love my garden, and I love working in it. To potter with green growing things, watching each day to see the dear, new sprouts come up, is like taking a hand in creation, I think. Just now my garden is like faith - the substance of things hoped for.
β
β
L.M. Montgomery (Anne's House of Dreams, 10 Books)
β
Why are poets so apt to choose their mates, not for any similarity of poetic endowment, but for qualities which might make the happiness of the rudest handicraftsman as well as that of the ideal craftsman of the spirit? Because, probably, at his highest elevation, the poet needs no human intercourse; but he finds it dreary to descend, and be a stranger.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
Strength is incomprehensible by weakness, and, therefore, the more terrible.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
I'm as provocative of tears as an onion!
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
β¦always felt the pain of her friends so keenly that she could not speak easy, fluent words of comforting. Besides, she remembered how well-meant speeches had hurt her in her own sorrow and was afraid.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
The sick in mind, and, perhaps, in body, are rendered more darkly and hopelessly so by the manifold reflection of their disease, mirrored back from all quarters in the deportment of those about them; they are compelled to inhale the poison of their own breath, in infinite repetition.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
You are partly crazy, and partly imbecile; a ruin, a failure, as almost everybody is,--though some in less degree, or less perceptibly, than their fellows.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
Life may be a vale of tears, all right, but there are some folks who enjoy weeping, I reckon.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
... for when a man's spirit has been thoroughly crushed, he may be peevish at small offenses, but never resentful of great ones.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
Death grows friendlier as we grow older.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
Strange, ain't it, how folks seem to resent anyone being born a mite cleverer than they be.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
Shirking responsibilities is the curse of our modern life-the secret of all the unrest and discontent that is seething in the world
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
In cases of distasteful occupation, the second day is generally worse than the first; we return to the rack with all the soreness of the preceding torture in our limbs.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
A stale article, if you did it in a good, warm, sunny smile will go off better than a fresh one that you've scowled upon.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
What is called poetic insight is the gift of discerning, in this sphere of strangely-mingled elements, the beauty and the majesty which are compelled to assume a garb so sordid.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
Jim Crow, moreover, was seen executing his world-renowned dance, in gingerbread.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
Gulls wheel through spokes of sunlight over gracious roofs and dowdy thatch, snatching entrails at the marketplace and escaping over cloistered gardens, spike topped walls and treble-bolted doors. Gulls alight on whitewashed gables, creaking pagodas and dung-ripe stables; circle over towers and cavernous bells and over hidden squares where urns of urine sit by covered wells, watched by mule-drivers, mules and wolf-snouted dogs, ignored by hunch-backed makers of clogs; gather speed up the stoned-in Nakashima River and fly beneath the arches of its bridges, glimpsed form kitchen doors, watched by farmers walking high, stony ridges. Gulls fly through clouds of steam from laundries' vats; over kites unthreading corpses of cats; over scholars glimpsing truth in fragile patterns; over bath-house adulterers, heartbroken slatterns; fishwives dismembering lobsters and crabs; their husbands gutting mackerel on slabs; woodcutters' sons sharpening axes; candle-makers, rolling waxes; flint-eyed officials milking taxes; etiolated lacquerers; mottle-skinned dyers; imprecise soothsayers; unblinking liars; weavers of mats; cutters of rushes; ink-lipped calligraphers dipping brushes; booksellers ruined by unsold books; ladies-in-waiting; tasters; dressers; filching page-boys; runny-nosed cooks; sunless attic nooks where seamstresses prick calloused fingers; limping malingerers; swineherds; swindlers; lip-chewed debtors rich in excuses; heard-it-all creditors tightening nooses; prisoners haunted by happier lives and ageing rakes by other men's wives; skeletal tutors goaded to fits; firemen-turned-looters when occasion permits; tongue-tied witnesses; purchased judges; mothers-in-law nurturing briars and grudges; apothecaries grinding powders with mortars; palanquins carrying not-yet-wed daughters; silent nuns; nine-year-old whores; the once-were-beautiful gnawed by sores; statues of Jizo anointed with posies; syphilitics sneezing through rotted-off noses; potters; barbers; hawkers of oil; tanners; cutlers; carters of night-soil; gate-keepers; bee-keepers; blacksmiths and drapers; torturers; wet-nurses; perjurers; cut-purses; the newborn; the growing; the strong-willed and pliant; the ailing; the dying; the weak and defiant; over the roof of a painter withdrawn first from the world, then his family, and down into a masterpiece that has, in the end, withdrawn from its creator; and around again, where their flight began, over the balcony of the Room of Last Chrysanthemum, where a puddle from last night's rain is evaporating; a puddle in which Magistrate Shiroyama observes the blurred reflections of gulls wheeling through spokes of sunlight. This world, he thinks, contains just one masterpiece, and that is itself.
β
β
David Mitchell (The Thousand Autumns of Jacob de Zoet)
β
To plant a family! This idea is at the bottom of most of the wrong and mischief which men do. The truth is, that, once in every half century, at longest, a family should be merged into the great, obscure mass of humanity, and forget all about its ancestors.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
Tradition,βwhich sometimes brings down truth that history has let slip, but is oftener the wild babble of the time, such as was formerly spoken at the fireside and now congeals in newspapers,βtradition is responsible for all contrary averments.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
I thought Marilla Cuthburt was an old fool when I heard she'd adopted a girl out of an orphan asylum," she said to herself, "but I guess she didn't make much of a mistake after all. If I'd a child like Anne in the house all the time I'd be a better and happier woman.
β
β
L.M. Montgomery (Anne of Green Gables)
β
It doesn't seem FAIR, said Anne rebelliously. Babies are born and live where they are not wanted-where they will be neglected-where they have no chance. I would have loved my baby so-and cared for it tenderly-and tried to give her every chance for good. And yet I wasn't allowed to keep her.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
The wrong-doing of one generation lives into the successive ones.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
Angels do not toil, but let their good works grow out of them.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
Might and wrong combined, like iron magnetized, are endowed with irresistible attraction.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
As a general rule, Providence seldom vouchsafes to mortals any more than just that degree of encouragement which suffices to keep them at a reasonably full exertion of their powers.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
Clergymen, judges, statesmen--the wisest, calmest, holiest persons of their day--stood in the inner circle round about the gallows, loudest to applaud the work of blood, latest to confess themselves miserably deceived.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
It's rather hard to decide just when people are grown up,' laughed Anne.
'That's a true word, dearie. Some are grown up when they're born, and others ain't grown up when they're eighty, believe me. That same Mrs. Roderick I was speaking of never grew up. She was as foolish when she was hundred as when she was ten.'
'Perhaps that was why she lived so long,' suggested Anne.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
He was one of your wicked, fascinating men. After he got married he left off being fascinating and just kept on being wicked.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
Silence and twilight fell over the garden. Far away the sea was lapping gently and monotonously on the bar. The wind of evening in the poplars sounded like some sad, weird old rune-some broken dream of old memories. A slender, shapely young aspen rose up before them against the fine maize and emerald and paling rose of the western sky, which brought out every leaf and twig in dark, tremulous, elfin loveliness.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
I never fancied cats much till I found the First Mate," he remarked, to the accompaniment of the Mate's tremendous purrs. "I saved his life, and when you've saved a creature's life you're bound to love it. It's next thing to giving life.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
Her beauty is the least of her dower-and she is the most beautiful woman I've ever known. That laugh of hers! I've angled all summer to evoke that laugh, just for the delight of hearing it.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
Since you are determined to be married, Miss Cornelia," said Gilbert solemnly, "I shall give you the excellent rules for the management of a husband which my grandmother gave my mother when she married my father."
"Well, I reckon I can manage Marshall Elliott," said Miss Cornelia placidly. "But let us hear your rules."
"The first one is, catch him."
"He's caught. Go on."
"The second one is, feed him well."
"With enough pie. What next?"
"The third and fourth are-- keep your eye on him.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
β
Another phenomenon, still more strikingly modern, was a package of lucifer matches, which, in old times, would have been thought actually to borrow their instantaneous flame from the nether fires of Tophet.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
he seemed to be in quest for mental food, not heart sustenance.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
He had that sense, or inward prophecy,-- which a young man had better never have been born than not to have, and a mature man had better die at once than utterly to relinquish,-- that we are not doomed to creep on forever in the old bad way, but that, this very now, there are harbingers abroad of a golden era, to be accomplished in his own lifetime.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
Admirable, however, as the Paris of the present day appears to you, build up and put together again in imagination the Paris of the fifteenth century; look at the light through that surprising host of steeples, towers, and belfries; pour forth amid the immense city, break against the points of its islands, compress within the arches of the bridges, the current of the Seine, with its large patches of green and yellow, more changeable than a serpent's skin; define clearly the Gothic profile of this old Paris upon an horizon of azure, make its contour float in a wintry fog which clings to its innumerable chimneys; drown it in deep night, and observe the extraordinary play of darkness and light in this sombre labyrinth of buildings; throw into it a ray of moonlight, which shall show its faint outline and cause the huge heads of the towers to stand forth from amid the mist; or revert to that dark picture, touch up with shade the thousand acute angles of the spires and gables, and make them stand out, more jagged than a shark's jaw, upon the copper-coloured sky of evening. Now compare the two.
β
β
Victor Hugo (The Hunchback of Notre-Dame)
β
All money is imaginary," answered the Calcatrix simply. "Money is magic everyone agrees to pretend is not magic. Observe! You treat it like magic, wield it like magic, fear it like magic! Why should a body with more small circles of copper or silver or gold than anyone else have an easy life full of treats every day and sleeping in and other people bowing down? The little circles can't get up and fight a battle or make a supper so splendid you get full just by looking at it or build a house of a thousand gables. They can do those things because everyone agrees to give them power. If everyone agreed to stop giving power to pretty metals and started giving it to thumbnails or mushroom caps or roof shingles or first kisses or tears or hours or puffin feathers, those little circles would just lay there tarnishing in the rain and not making anyone bow their noses down to the ground or stick them up in the air.
β
β
Catherynne M. Valente (The Girl Who Soared Over Fairyland and Cut the Moon in Two (Fairyland, #3))
β
Possibly, he was in a state of second growth and recovery, and was constantly assimilating nutriment for his spirit and intellect from sights, sounds, and events which passed as a perfect void to persons more practised with the world. As all is activity and vicissitude to the new mind of a child, so might it be, likewise, to a mind that had undergone a kind of new creation, after its longsuspended life.
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
Technologies of easy travel "give us wings; they annihilate the toil and dust of pilgrimage; they spiritualize travel! Transition being so facile, what can be any manβs inducement to tarry in one spot? Why, therefore, should he build a more cumbrous habitation than can readily be carried off with him? Why should he make himself a prisoner for life in brick, and stone, and old worm-eaten timber, when he may just as easily dwell, in one sense, nowhere,βin a better sense, wherever the fit and beautiful shall offer him a home?
β
β
Nathaniel Hawthorne (The House of the Seven Gables)
β
As soon as she could discern the outline of the house, it had all its old effect upon Tess's imagination. Part of her body and life it ever seemed to be; the slope of its dormers, the finish of its gables, the broken courses of brick which topped the chimney, all had something in common with her personal character.
β
β
Thomas Hardy (Tess of the DβUrbervilles)
β
This is Leo's first night here. Leo was in charge of putting the napkins out and I notice that he put them on the right and they're supposed to go on the left. I only know this because I like to read books like Ann of Green Gables, and Little House on the Prairie, and I pick up random things like that from the stories.
β
β
Mia Sheridan (Leo)
β
The rustle of the poplar leaves about the house worried her, it sounded so like pattering raindrops, and the dull, far-away roar of the gulf, to which she listened delightedly at other times, loving its strange, sonorous, haunting rhythm, now seemed like a prophecy of storm and disaster to a small maiden who particularly wanted a fine day.
β
β
L.M. Montgomery (Anne of Green Gables (Anne of Green Gables, #1))
β
The day had begun sombrely in grey cloud and mist, but had ended in a pomp of scarlet and gold. Over the western hills beyond the harbour were amber deeps and crystalline shadows, with the fire of sunset below. The north was a mackerel sky of little, fiery golden clouds. The red light flamed on the white sails of a vessel gliding down the channel, bound to a Southern port in a land of palms. Beyond her, it smote upon and incarnadined the shining, white, grassless faces of the sand-dunes.
β
β
L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
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His error lay in supposing that this age, more than any past or future one, is destined to see the tattered garments of Antiquity exchanged for a new suit, instead of gradually renewing themselves by patchwork; in applying his own little life span as the measure of an interminable acheivement; and, more than all, in fancying that it mattered anything to the great end in view whether he himself should contend for it or against it.
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Nathaniel Hawthorne (The House of the Seven Gables)
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Little Phoebe was one of those persons who possess, as their exclusive patrimony, the gift of practical arrangement. It is a kind of natural magic that enables these favored ones to bring out the hidden capabilities of things around them; and particularly to give a look of comfort and habitableness to any place which, for however brief a period, may happen to be their home. A wild hut of underbrush, tossed together by wayfarers through the primitive forest, would acquire the home aspect by one night's lodging of such a woman, and would retain it long after her quiet figure had disappeared into the surrounding shade.
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Nathaniel Hawthorne (The House of the Seven Gables)
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The wind was off shore, and only broke the sea's surface in to long, silvery ripples, and sent sheeny shadows flying out across it, from every point and headland, like transparent wings. The dusk was hanging a curtain of violet gloom over the sand-dunes and the headlands where gulls were huddling. The sky was faintly filmed over with scarfs of silken vapor. Cloud fleets rode at anchor along the horizons. An evening star was watching over the bar.
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L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
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Iβm going home to an old country farmhouse, once green, rather faded now, set among leafless apple orchards. There is a brook below and a December fir wood beyond, where Iβve heard harps swept by the fingers of rain and wind. There is a pond nearby that will be gray and brooding now. There will be two oldish ladies in the house, one tall and thin, one short and fat; and there will be two twins, one a perfect model, the other what Mrs. Lynde calls a βholy terror.β There will be a little room upstairs over the porch, where old dreams hang thick, and a big, fat, glorious feather bed which will almost seem the height of luxury after a boardinghouse mattress. How do you like my picture, Phil?"
"It seems a very dull one," said Phil, with a grimace.
"Oh, but Iβve left out the transforming thing," said Anne softly. "Thereβll be love there, Philβfaithful, tender love, such as Iβll never find anywhere else in the worldβlove thatβs waiting for me. That makes my picture a masterpiece, doesnβt it, even if the colors are not very brilliant?"
Phil silently got up, tossed her box of chocolates away, went up to Anne, and put her arms about her. "Anne, I wish I was like you," she said soberly.
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L.M. Montgomery (Anne of the Island (Anne of Green Gables, #3))
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Knightley Academy stood out against the moonlight in silhouette, a ramshackle collection of chimneys, turrets and gables. Both boys stopped to take in the sight of the manicured lawns and tangled woods, the soaring chapel and the ivy-covered brick of the headmaster's house. They were home. For this, Henry felt, was home. Not some foreign castle encircled by guard towers, but this cozy, bizarre assortment of buildings with its gossiping kitchen maids and eccentric professors and clever students.
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Violet Haberdasher (The Secret Prince (Knightley Academy, #2))
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Vasco lived in Mangrove Heights, on a bluff overlooking the river. The first time Jed saw the house, he couldn't help thinking of the Empire of Junk. Towers jostled with gables, beams with columns. Gargoyles leered from the eaves, tongues sharp as the heads of arrows, eyes like shelled eggs. The front garden had been planted with all kinds of trees, so the house seemed to skulk. The path to the front door crackled with dead leaves. He could smell plaster, the inside of birds' nests, river sewage.
'I should have been born in a place like this,' Jed said, but Vasco was opening the door and didn't hear.
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Rupert Thomson (The Five Gates of Hell)
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They are ordinarily men to whom forms are of paramount importance. Their field of action lies among the external phenomena of life. They possess the vast ability in grasping, and arranging, and appropriating to themselves the big, heavy, solid unrealities, such as gold, landed estate, offices of trust and emolument, and public honors. With these materials, and with deeds of goodly aspect, done in the public eye, an individual of this class builds up, as it were, a tall and stately edifice, which, in the view of other people, and ultimately in his own view, is no other than the man's character, or the man himself.
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Nathaniel Hawthorne (The House of the Seven Gables)
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Manβs own youth is the worldβs youth; at least, he feels as if it were, and imagines that the earthβs granite substance is something not yet hardened, and which he can mould into whatever shape he likes. So it was with Holgrave. He could talk sagely about the worldβs old age, but never actually believed what he said; he was a young man still, and therefore looked upon the worldβthat graybearded and wrinkled profligate, decrepit, without being venerableβas a tender stripling, capable of being improved into all that it ought to be, but scarcely yet had shown the remotest promise of becoming. He had that sense, or inward prophecy, βwhich a young man had better never have been born than not to have, and a mature man had better die at once than utterly to relinquish,βthat we are not doomed to creep on forever in the old bad way, but that, this very now, there are the harbingers abroad of a golden era, to be accomplished in his own lifetime.
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Nathaniel Hawthorne (The House of the Seven Gables)
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He makes up the most remarkable yarns - and then his mother shuts him up in the closet for telling stories. And he sits down and makes up another one, and has it ready to relate to her when she lets him out. He had one for me when he came down tonight. 'Uncle Jim,' says he, solemn as a tombstone, 'I had a 'venture in the Glen today.' 'Yes, what was it?' says I, expecting something quite startling, but no-wise prepared for what I really got. 'I met a wolf in th street,' says he, 'a 'normous wolf with a big red mouf and awful long teeth, Uncle Jim.' 'I didn't know there was any wolves at the Glen,' says I. 'Oh, he comed there from far, far away,' says Joe, 'and I fought he was going to eat me up, Uncle Jim.' 'Were you scared?' says I. 'No, 'cause I had a gun,' says Joe, 'and I shot the wolf dead, Uncle Jim - solid dead - and then he went up to heaven and bit God,' says he.
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L.M. Montgomery (Anne's House of Dreams (Anne of Green Gables, #5))
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Gilbert laughed and clasped tighter the girlish hand that wore his ring. Anne's engagement ring was a circlet of pearls. She had refused to wear a diamond.
"I've never really liked diamonds since I found out they weren't the lovely purple I had dreamed. They will always suggest my old disappointment ."
"But pearls are for tears, the old legend says," Gilbert had objected.
"I'm not afraid of that. And tears can be happy as well as sad. My very happiest moments have been when I had tears in my eyes-- when Marilla told me I might stay at Green Gables--when Matthew gave me the first pretty dress I ever had--when I heard that you were going to recover from the fever. So give me pearls for our troth ring, Gilbert, and I'll willingly accept the sorrow of life with its joy.
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L.M. Montgomery (Anne's House of Dreams)
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It was now autumn, and I made up my mind to make, before winter set in, an excursion across Normandy, a country with which I was not acquainted. It must be borne in mind that I began with Rouen, and for a week I wandered about enthusiastic with admiration, in that picturesque town of the Middle Ages, in that veritable museum of extraordinary Gothic monuments.
Well, one afternoon, somewhere about four o'clock, as I happened to be passing down an out-of-the-way by-street, in the middle of which flowed a deep river, black as ink, named the Eau de Robec, my attention wholly directed to examining the bizarre and antique physiognomy of the houses, was all of a sudden attracted by the sight of a series of shops of furniture brokers, one after the other, from door to door along the street. Ah! these second-hand brokers had well chosen their locality, these sordid old traffickers of bric-a-brac, in this fantastic alley leading up from stream of that sinister dark water, under the steep pointed overhanging gables of tiled roofs and projecting shingle eaves, where the weathercocks of the past still creaked overhead. ("Who Knows?")
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Guy de Maupassant (Ghostly By Gaslight)