Hypnotic Rhythm Quotes

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Hypnotized I am hypnotized Sleepwalking to the rhythm of your words, Never wishing to wake-
Michael Faudet
His voice is both low and quiet, and it has this hypnotic rhythm to it. I wonder whether someday he'll give sermons with that voice, whether he'll throw down judgement with that voice.
Christina Lauren (Autoboyography)
She could smell the boy spice beneath the thrift-store aroma of his jacket, and the rubbing and the smell began to work to soften her -- like butter before you add sugar, in the first steps of making something sweet. It was her first experience of how bodies could meld together, how breath could slip naturally into rhythm. It was hypnotic. Heady. And she wanted more.
Laini Taylor (Lips Touch: Three Times)
A year later we were in a coffee shop, the kind taking a last stand against Starbucks with its thrift-store chairs, vegan cookies, and over-promising teas with names like Serenity and Inner Peace. I was curled up with a stack of causes, trying to get in a few extra hours of work over the weekend, and Andrew sat with one hand gripping his mug, his nose in The New York Times; the two of us a parody of the yuppie couple of the new millennium. We sat silently that way, though there wasn't silence at all. On top of the typical coffee-shop sounds - the whir of an expresso machine, the click of the cash register, the bell above the door - Andrew was making his noises, an occasional snort at something he read in the paper, the jangle of his keys in his pocket, a sniffle since he was getting over a cold, a clearing of his throat. And as we sat there, all I could do was listen to those Andrew-specific noises, the rhythm of his breath, the in-out in-out, its low whistle. Snort. Jangle. Sniffle. Clear. Hypnotized. I wanted to buy his soundtrack. This must be what love is, I thought. Not wanting his noises to ever stop.
Julie Buxbaum (The Opposite of Love)
Somewhere along the line Coltrane's soprano sax runs out of steam. Now it's McCoy Tyner's piano solo I hear, the left hand carving out a repetitious rhythm and the right layering on thick, forbidding chords. Like some mythic scene, the music portrays somebody's - a nameless, faceless somebody's - dim past, all the details laid out as clearly as entrails being dragged out of the darkness. Or at least that's how it sounds to me. The patient, repeating music ever so slowly breaks apart the real, rearranging the pieces. It has a hypnotic, menacing smell, just like the forest.
Haruki Murakami (Kafka on the Shore)
That's the problem with college kids. I blame Hollywood for skewing their perspective. Life is just a big romantic comedy to them, and if you meet cute, happily-ever-after is a foregone conclusion. So there we were, the pretty blond girl milking her very slight congenital limp in order to seem damaged and more interesting, and the nervous boy with the ridiculous hair trying so hard to be clever, the two of us hypnotized by the syncopated rhythms of our furiously beating hearts and throbbing loins. That stupid, desperate, horny kid I was, standing obliviously on the fault line of embryonic love, when really, what he should have been doing was running for his life.
Jonathan Tropper (This is Where I Leave You)
She was beautiful. Her sinuous and light movements hypnotized and took away the breath of every person in the audience. Including mine. I could almost see her soul as she moved to the rhythm of music. It was brilliant and wonderful, but sad. Of a sadness that smelled of despair. She was the rain that fell slowly. Free. Wild. Unhappy. A tear that came unexpectedly from the sky. Pain in its true form. “Emma,” I whispered.
A.C. Pontone (Flames of Truth (The Lost Fae, #1))
He bantered us, challenged us, electrified us . . . At times his eloquence held us silent as images and some witty turn, some humorous phrase brought roars of applause. At times we cheered almost every sentence, like delegates at a political convention, At other moments we rose in our seats and yelled. There was something hypnotic in his rhythm and phrasing. His power over his auditors was absolute. {Garland's thoughts on the great Robert Ingersoll}
Hamlin Garland
The music of cri-cri and cigales droned on in a hypnotic rhythm, punctuated by the occasional croon of the nightingale. I thought of lullabies and how as a child they would placate my disappointment that another day had ended. I was used to sleeping in strange places, and would always focus on sound to relax. In the pawnshop, it was the ticking of grandfather clocks or the tuning of antique instruments. In the thieves’ den, it was striking of a match, the bubbling of a water pipe and the gentle murmur floating in off the streets. On the Wastrel, it was the wind or the creaking wood. It was important to me to find lullabies where I could. If death came with a lullaby, perhaps fewer men would fear it.
Meg Merriet (Sky Song Overture)
Dancing as if language had surrendered to movement - as if this ritual, this wordless ceremony, was now the way to speak, to whisper private and sacred things, to be in touch with some otherness. Dancing as if the very heart of life and all its hopes might be found in those assuaging notes and those hushed rhythms and in those silent and hypnotic movements. Dancing as if language no longer existed because words were no longer necessary...
Brian Friel (Dancing at Lughnasa)
...It drifts in from somewhere far away - a mirage of sound - a dream music that is both heard and imagined; that seems to be both itself and its own echo; a sound so alluring and so mesmeric that the afternoon is bewitched, maybe haunted, by it. And, what is so strange about that memory is that everybody seems to be floating on those sweet sounds , moving rhythmically, languorously, in complete isolation; responding more to the mood of the music than to its beat. When I remember it, I think of it as dancing. Dancing with eyes half closed because to open them would break the spell. Dancing as if language had surrendered to movement - as if this ritual, this wordless ceremony, was now the way to speak, to whisper private and sacred things, to be in touch with some otherness. dancing as if the very heart of life and all its hopes might be found in those assuaging notes and those hushed rhythms and in those silent and hypnotic movements. Dancing as if language no longer existed because words were no longer necessary...
Brian Friel
After your little one falls asleep in your arms, you may not be able to put him down and walk away. He may be very relaxed, but he’s not in a coma. Deep within their brains, snoozing babies are still aware of the world around them. That’s why abruptly stopping the hypnotic rhythms of the Cuddle may make a baby explode back into tears even from what appears to be a sound sleep.
Anonymous
Lowering his hand to her belly, he pressed his palm against her spasm-stricken muscles and kneaded away the tightness. She felt like a sensitive harp string, thrummed by expert fingers. Horrified by her body’s reaction, she tried to twist free, but he threw a damp, buckskin-clad leg over both of hers and pinned her to the fur. Her back stung each time she moved, the pain so sharp it made beads of sweat pop out on her brow. Her thighs felt as if they were on fire. “M-mm-m, you are still hot,” he mumbled. His hand lingered on her belly. “Not too bad where the sun did not touch, though. The fever is better.” No man had ever dared touch her like this. She tossed her head from side to side, strained to get her arms and legs free, then shuddered in defeat. “Do not fight.” His voice was so close, it seemed to come from within her own mind. “You cannot win, eh? Rest.” His sleepy whispers invaded her whole being, slow, hypnotic, persuasive. He rubbed her in a circular motion, pausing in sleep, then coming awake to rub some more. “Lie still. Trust this Comanche. It is for the burn, no? To heal your skin.” As he slid his palm slowly downward, she realized she was slick with some kind of oil. Her heart drummed a sensual alto, off-key to the soprano shrills of fear emitted by her nerve endings. No, please, no. He molded his hand to the slight mound between her thighs, searching out its external softness, his fingertips undulating in a subtle manipulation that shot bolts of sensation to the core of her. Nuzzling her hair again, he sighed, his warm breath raising goose bumps on her neck. “Ah, Blue Eyes, your mother did not lie. You are sweet.” He gave the conjuncture of her thighs a farewell caress, then traced the curve of her hip with a hand that skimmed the painfully burned flesh there so lightly that she scarcely felt it. The pressure of his palm increased when it gained purchase on her ribs where the sun had not reached. His hand tightened its grip, squeezed, and released so rhythmically that it seemed to keep time with the strange, blood-pounding beat inside her. It was as if he had begun the rhythm within her, as if he somehow knew the thrusts, the lulls, better than she.
Catherine Anderson (Comanche Moon (Comanche, #1))
Do not fight.” His voice was so close, it seemed to come from within her own mind. “You cannot win, eh? Rest.” His sleepy whispers invaded her whole being, slow, hypnotic, persuasive. He rubbed her in a circular motion, pausing in sleep, then coming awake to rub some more. “Lie still. Trust this Comanche. It is for the burn, no? To heal your skin.” As he slid his palm slowly downward, she realized she was slick with some kind of oil. Her heart drummed a sensual alto, off-key to the soprano shrills of fear emitted by her nerve endings. No, please, no. He molded his hand to the slight mound between her thighs, searching out its external softness, his fingertips undulating in a subtle manipulation that shot bolts of sensation to the core of her. Nuzzling her hair again, he sighed, his warm breath raising goose bumps on her neck. “Ah, Blue Eyes, your mother did not lie. You are sweet.” He gave the conjuncture of her thighs a farewell caress, then traced the curve of her hip with a hand that skimmed the painfully burned flesh there so lightly that she scarcely felt it. The pressure of his palm increased when it gained purchase on her ribs where the sun had not reached. His hand tightened its grip, squeezed, and released so rhythmically that it seemed to keep time with the strange, blood-pounding beat inside her. It was as if he had begun the rhythm within her, as if he somehow knew the thrusts, the lulls, better than she. Held captive now by more than bonds and strength of arm, she turned her face to study his, fascinated by the sleepy innocence that clouded his half-closed eyes. The merciless killer was gone, replaced by a drowsy, mischievous boy who stroked her as if she were a newly acquired pet. A slow smile curved his mouth, a dreamy smile that told her he was more asleep than awake. He moved closer to whisper something unintelligible against her cheek. Her lips tingled, then parted. She found herself wondering how it might have felt if he had kissed her, then cringed at the wayward thought. Comanches didn’t kiss, they just took. And her time was running out. With the tip of his tongue, he outlined her ear. “Topsannah, tani-har-ro.” The words came out so slurred, she doubted he even knew he was saying them. “Prairie flower,” he muttered, “in springtime.
Catherine Anderson (Comanche Moon (Comanche, #1))
Mikhail, drink!” Jacques materialized beside the bed, caught his older brother to him, his face a mask of fury. “Kućak!--stars, Eric, why did you allow him to go without aid? You’re lucky Gregori isn’t here, both of you.” “He thought only of the woman,” Eric said in self-defense. Jacques swore softly. “She is safe in her room, Mikhail. You must drink for both of you. One cannot exist without the other. If you do not survive, you doom her to death, or at best a half-life.” Jacques swallowed his anger, took a deep calming breath, used his teeth to tear open his wrist and thrust it to his brother’s mouth. “Saasz hän ku andam szabadon--take what I freely offer. My life is your life, my blood your blood. Together we are strong.” He used the formal words, meaning every one of them. He would have given his life for their leader. The others began the ritual healing chant. They spoke in a hypnotic rhythm, and the ancient tongue was beautiful.
Christine Feehan (Dark Prince (Dark, #1))
He was anxious to reach the end of his long journey. And he arrived, concentrating on swinging his sharp blade like a pendulum, hypnotized by the rhythm, cutting his way through the thickest bushes without being able to see past the thorny branch in front of him, and the next, and then the next, and then the next, until suddenly there were no more: just his bees’ treasure. And his bees were there, waiting for him. You’re here. You’re here, they said to him, buzzing around him. Look. Touch. Smell. Here. Take it. Take it.
Sofía Segovia (El murmullo de las abejas)
Gaye released “Got to Give It Up” a year after Bowie released “Station to Station”—two long grooves stretching into double-digit minutes, blatantly unconventional, with quizzical vocals and rubberband-man bass and hypnotically repetitive rhythm, going for synthetic effects while rejecting any kind of laid-back comforts. These records were a fuck-you to all the musicians their age who were content to play it safe and pander to the audience. But they were also a challenge to young listeners to catch up with the sound of the future, contemplating personal disasters with a hilariously spaced just-visiting-this-planet vibe.
Rob Sheffield (On Bowie)
Saasz hän ku andam szabadon--take what I freely offer. My life is your life, my blood your blood. Together we are strong.” He used the formal words, meaning every one of them. He would have given his life for their leader. The others began the ritual healing chant. They spoke in a hypnotic rhythm, and the ancient tongue was beautiful. Behind him, Jacques heard the murmur of voices, smelled the sweet aroma of soothing, healing herbs. Carpathian soil, so rich in healing properties, was mixed with herbs and saliva from their mouths and placed over the wounds. Jacques held his brother in his arms, felt his strength, his life, flow into Mikhail, and he thanked God for his ability to help him. Mikhail was a good man, a great man, and his people could not lose him. Mikhail felt strength pouring into him, into his depleted muscles, into his brain and heart. Jacques’s strong body trembled, and he sat abruptly on the edge of the bed, still cradling Mikhail in his arms, still holding his brother’s head to make it easier for him to replenish what he had lost. Mikhail resisted, surprised at how strong Jacques still was, how weak he remained despite the transfer. Stop, Jacques, I endanger you. He said the words sharply in his mind because Jacques refused to release him. “It is not enough, my brother. Take what is freely offered with no thought but to heal.” Jacques continued the chant as long as he was able, signaling Eric when he was growing too weak to continue. Eric slashed his wrist without thought, without wincing at the gaping, painful wound, offering his wrist to Jacques, who continued to supply Mikhail with his life’s blood. Eric and Byron provided the soft rhythmic words of ritual while Jacques replenished himself and Mikhail. The room itself seemed filled with warmth and love, and smelled clean and fresh. The ritual healing signaled a new beginning. It was Eric who called a halt when he could see Mikhail’s color had returned, when he could hear the steady beat of his heart and feel the blood flowing freely, safely, in his veins. Byron put a supporting arm around Jacques, and helped him to a chair. Without a word he took Eric’s place, supplying life-giving fluid to Jacques. Mikhail stirred, accepted the pain of his injury as part of the healing process, as part of the mechanics of living. He turned his head. His dark gaze sought and found Jacques, rested on him like a touch. “Is he all right?” His voice was very soft, but commanding all the same. Mikhail was authoritative no matter the circumstances. Jacques looked up, pale and wan, flashed a grin, and winked. “I spend a lot of time pulling your butt out of trouble, big brother. You would think a man a good two hundred years older than me would have the sense to watch his own backside.” Mikhail smiled tiredly. “You get pretty cocky when I am lying on my backside.
Christine Feehan (Dark Prince (Dark, #1))
He smoothed his fingers along her jawline and lifted her chin, kissing her gently, testing. Lindsey went light-headed with the rush of sensation, the touch of his lips leaving her longing for more. Clutching his shirt in her fingers - napkin and all - she pulled him closer, melting into his kiss. Carden took it from tentative to tender, then parted her lips with the velvety sweep of his tongue. She matched his languid rhythm, hypnotized. He was all chocolate and caramel, creamy cool and sweet. 'Sinfully delicious'. No doubt he was 31 flavors of trouble, but resisting him seemed impossible.
Tracy March (Should've Said No (Thistle Bend, #1))
Asian girl From personal experience. Asian girl is a sexual mystery in her sexual erotic eyes in her sultry look with a burning passion, hypnotizing with her beauty with very delicate strings like charming erotic melodic hints with flirting eyes. Asian drum rhythm gives the insight of love as if her eyes are beckoning to her, immersing her sweet moans into erotic romance like a flute melody, her silky snow white or lacquer honey caramel or a golden body that radiates brilliance of indescribable beauty is like an indescribable epic beautiful landscape. Her character is like a cloud as she is sweet and gentle, like sunshine illuminating your life. You gradually know it, it opens only with time like a striptease where they take off the details of clothes over time, and then pounces on you like a tigress protects her happiness she is able to give you a cosmic scale love and orgasm in the rest of the time she is gentle, sensual, soft and very feminine. You love her in return, she will become obsessed with you. Like a wild cat, she guards her happiness, like a pillow she is gentle with you, will cover the cover of love with her body and soul. With you she is like a little kitten, like a child eager for care and love. And you depend on her beauty and love and love for her goes to the depths of yours, I and you permeate it through and understand that you will love only her gentle face and life without her is meaningless. Over time, love only increases and it seems to you that she knows no bounds like you in a fairy tale. She smiles at you and you see that your priceless happiness is sacred happiness of the universe, priceless gift of fate and you smile at her and so warmly at heart and you think that this is love is what I will look for in all lives. Life with an Asian girl is like a beautiful, unforgettable erotic dream filled with spiritual romance and the poetic lyrics of the harmony of soul, mind and body. The Asian girl is a secret that only the chosen ones will know her love is the key to heavenly life on earth. The beauty of each Asian girl is very clearly subtly delicately jeweled in fine details. Each of them has its own imperial face of divine beauty as if the queen of the world. Her love is a kiss of true love is a kiss of the soul I want it to last forever and you understand that you love her to the very depths of your mind and heart that there is nothing more valuable than her love she gives you a child genuine sincere joy and your soul shines with romance and happiness you are like a flower stretching towards its light of beauty that comes from within.
Musin Almat Zhumabekovich
His black eyes smoldered, a velvet seduction. I need a dream to rid myself of nightmares. She backed away from him, holding a palm outward to ward him off. “Just you keep your ideas to yourself,” she warned. “You have that devil’s look, the one that says no woman is safe.” That is not true, Shea, he denied, the hard edge of his mouth softening into temptation. Only one woman. You. She laughed at him. “I think I’m very grateful you’re in no condition to move around. The sun is coming up, and I have to secure the cottage for daylight. Go back to sleep. I’ll be here when you wake up.” Shea patted the one comfortable chair she had. You will lie beside me where you should be, he informed her. Shea carefully closed the shutters on the windows and fastened them. She was always cautious in locking her home. During the day she was very vulnerable. Already she could feel her body slowing, becoming heavier, more tired. I want you to lie beside me. His voice was a sinful caress, enticing, insistent. “I think you can manage all by yourself,” she answered, refusing to look into his dark, hypnotic eyes. Instead, she shut off her computer and the generator and locked the door. I have nightmares, little red hair. The only way to keep them at bay is to have you close beside me. He sounded very earnest, innocent, hopeful. Shea found herself smiling as she poured him another unit of blood. She was beginning to think the devil himself had shown up at her doorstep. Jacques was temptation incarnate. “I removed a stake from your heart just a couple of nights ago, and you have a major wound there. If I move around while I sleep, I could easily bump into you and start it bleeding again. You wouldn’t want that, would you?” He took the container from her hand, his fingers curling around the glass precisely over the spot where her fingers had been. He did things like that, intimate things that sent butterfly wings brushing deep within her. Not my heart, Shea. They did not get me in the heart, as they should have. It is here within my body--can you not hear it? Your heart beats with the same rhythm so that it matches mine.
Christine Feehan (Dark Desire (Dark, #2))
Her rhythms pulse regular and sinusoidal—a freak show in caravan, travelling over thousands of little hills. A serpent hypnotic and undulant, bearing on her back like infinitesimal fleas such hunchbacks, dwarves, prodigies, centaurs, poltergeists! Two-headed, three-eyed, hopelessly in love; satyrs with the skin of werewolves, werewolves with the eyes of young girls and perhaps even an old man with a navel of glass, through which can be seen goldfish nuzzling the coral country of his guts.
Anonymous
I want you to lie beside me. His voice was a sinful caress, enticing, insistent. “I think you can manage all by yourself,” she answered, refusing to look into his dark, hypnotic eyes. Instead, she shut off her computer and the generator and locked the door. I have nightmares, little red hair. The only way to keep them at bay is to have you close beside me. He sounded very earnest, innocent, hopeful. Shea found herself smiling as she poured him another unit of blood. She was beginning to think the devil himself had shown up at her doorstep. Jacques was temptation incarnate. “I removed a stake from your heart just a couple of nights ago, and you have a major wound there. If I move around while I sleep, I could easily bump into you and start it bleeding again. You wouldn’t want that, would you?” He took the container from her hand, his fingers curling around the glass precisely over the spot where her fingers had been. He did things like that, intimate things that sent butterfly wings brushing deep within her. Not my heart, Shea. They did not get me in the heart, as they should have. It is here within my body— can you not hear it? Your heart beats with the same rhythm so that it matches mine. “Were you a playboy before they buried you?” she asked him, tossing a mischievous grin over her shoulder. Shea checked her gun to make certain it was clean and loaded. “You need to drink that, Jacques, not just hold it. And then go back to sleep. The more rest you get, the faster you’ll heal.” You persist in being my doctor when I so need my lifemate to come and lie beside me. Again his voice was temptation itself. “Drink, Jacques.” She tried to sound stern, but it was impossible when he was looking so desperate for her company. I am desperate. She couldn’t help but shake her head. “You’re outrageous.” He made an attempt to raise the glass to his mouth, but his arm wobbled. I cannot lift this without your aid, Shea. I am too weak. “Am I supposed to believe you?” She laughed aloud but crossed to his side.
Christine Feehan (Dark Desire (Dark, #2))
The warm, pulsing breath of the sweet grass surged through the open windows in a fashion to turn the head of a stone image. It was exotic, too sweet, exaggerated, like everything else in this climate! Cornelis turned over again, seeking a cool place on the broad bed. Then he sat up in bed, impatiently throwing off the sheet. A thin streak of moonlight edged the bed below his feet. He slipped out of bed, walked over to a window. He leaned out, looking down at the acres of undulating grass. There seemed to be some strange, hypnotic rhythm to it, some vague magic, as it swayed in the night wind. The scent poured over him in great, pulsing breaths. He shut his eves and drew it in, abandoning his senses to its effect. ("Sweet Grass")
Henry S. Whitehead (Jumbee and Other Uncanny Tales)
Two exercises are especially prescribed by the adepts of the mystic path. The first consists in observing with great attention the workings of the mind without attempting to stop it. Seated in a quiet place, the disciple refrains as much as he can from consciously pointing his thoughts in a definite direction. He marks the spontaneous arising of ideas, memories, desires, etc., and considers how, superseded by new ones, they sink into the dark recesses of the mind. He watches also the subjective image which, apparently unconnected with any thoughts or sensations, appears while his eyes are closed: men, animals, landscapes, moving crowds, etc. During that exercise, he avoids making reflections about the spectacle which he beholds, looking passively at the continual, swift, flowing stream of thoughts and mental images that whirl, jostle, fight and pass away. It is said that the disciple is about to gather the fruit of this practice when he loosens the firm footing he had kept, till then, in his quality of spectator. He too — so he must understand — is an actor on the tumultuous stage. His present introspection, all his acts and thoughts, and the very sum of them all which he calls his self, are but ephemeral bubbles in a whirlpool made of an infinite quantity of bubbles which congregate for a moment, separate, burst, and form again, following a giddy rhythm. The second exercise is intended to stop the roaming of the mind in order that one may concentrate it on one single object. Training which tends to develop a perfect concentration of mind is generally deemed necessary for all students without distinction. As to observing the mind's activity it is only recommended to the most intellectual disciples. Training the mind to "one-pointedness" is practiced in all Buddhist sects. In Southern Buddhist countries — Ceylon, Siam, Burma — an apparatus called kasinas, which consists of clay discs variously coloured, or a round surface covered by water, or a fire at which one gazes through a screen in which a round hole is pierced — are used for this purpose. Any of these circles is stared at until it is seen as clearly when the eyes are shut, as when they are open and actually looking at it. The process does not aim at producing an hypnotic state, as some Western scholars have said, but it accustoms one to concentrating the mind. The fact that the subjective image has become as vivid as the objective, indicates — according
Alexandra David-Néel (Magic and Mystery in Tibet)
Don’t be hypnotized by the sanctity of the superficial rhythm of humdrum life, Jackson warns, for under the surface of things, people change, sometimes irrevocably, and yet they may appear unaltered.
Shirley Jackson (Dark Tales)