Ij Quotes

The greatest wisdom is in simplicity. Love, respect, tolerance, sharing, gratitude, forgiveness. It's not complex or elaborate. The real knowledge is free. It's encoded in your DNA. All you need is within you. Great teachers have said that from the beginning. Find your heart, and you will find your way.

"Even with your face in such a state, I can see you are quite lovely. I'j used to certain...standards. You will look good traveling on my arem, as part of my entourage." His words make me want to hurl. "You may find I am not the monster you imagine." "Oh, no, " I say. "I bet you're a real prince." "King, actually," he says with a slow grin."

And then also, again, still, what are those boundaries, if they’re not baselines, that contain and direct its infinite expansion inward, that make tennis like chess on the run, beautiful and infinitely dense? The true opponent, the enfolding boundary, is the player himself. Always and only the self out there, on court, to be met, fought, brought to the table to hammer out terms. The competing boy on the net’s other side: he is not the foe: he is more the partner in the dance. He is the what is the word excuse or occasion for meeting the self. As you are his occasion. Tennis’s beauty’s infinite roots are self-competitive. You compete with your own limits to transcend the self in imagination and execution. Disappear inside the game: break through limits: transcend: improve: win. Which is why tennis is an essentially tragic enterprise… You seek to vanquish and transcend the limited self whose limits make the game possible in the first place. It is tragic and sad and chaotic and lovely. All life is the same, as citizens of the human State: the animating limits are within, to be killed and mourned, over and over again…Mario thinks hard again. He’s trying to think of how to articulate something like: But then is battling and vanquishing the self the same as destroying yourself? Is that like saying life is pro-death? … And then but so what’s the difference between tennis and suicide, life and death, the game and its own end?

They dumped him in the orphanage as dust and dirt swirled in fierce desert winds howling like jackals. It was a day when hawks flew against the wind without making headway, hovering over him, preparing for the kill. As if he were their helpless prey. And that was how he felt. Helpless.

De Geest van de Lichte Droge Sneeuw nam de Geest van de Korrelige Sneeuw tot gezellin en enige tijd later baarde zij ver in het Noorden een Berg van IJs. De Zonnegeest haatte het glinsterende kind dat groeide en zich steeds verder over het land uitstrekte en de zonnewarmte tegenhield zodat er geen gras kon groeien. De Zon besloot Berg van IJs te vernietigen, maar de Geest van de Stormwolk, de bloedverwant van Korrelige Sneeuw, ontdekte dat de Zon haar kind wilde doden. En in de zomer, toen de Zon op zijn krachtigst was, vocht de Geest van de Stormwolk met hem om het leven van Berg van IJs te redden.

Mon Mothma walks among the wreckage, attendants on each side of her: Hostis Ij to her left, and Auxi Kray Korbin on her right. Each serving the role of angel and demon on her shoulder (though the role is never fixed and one becomes the other depending on the situation). Behind them, four New Republic soldiers walking with blaster rifles at the ready. This

Adam pulled me a little closer. “I’d choose you over the Ranking System any day,

I sit on a foldaway chair at the lakeside, sipping hot cocoa and admiring the sunset behind distant clouds, pondering my next novel, which will be more truth than fiction. More memoir than tale. It will begin at the Third Garden and end here at Little Loch Broom, floating on a leaf over clear water, a bared soul visible to all those who would desire a glimpse of a childhood most extraordinary.

Nel momento in cui riconosceva quello che c'era su una cartuccia provava la sensazione carica d'ansia che ci fosse qualcosa di meglio su un'altra cartuccia e che potenzialmente se lo stava perdendo. Poi si rese conto che avrebbe avuto tutto il tempo di godersi ogni cartuccia e capì intellettualmente che non aveva senso provare il panico di perdersi qualcosa.

In addition to bearing him thirteen children, Soya was privileged to copy the 1,225-page War and Peace by hand eight times while Tolstoy was editing it, because Tolstoy needed clean drafts to send along to the publisher. She also helped him work on the less famous but equally essential book Resurrection about the many women he cheated on with her. In the final weeks of his life, the increasingly radical Tolstoy left his wife without telling her, refused to see her when she tracked him down, and then died ij a train station. But at least Soya was comforted by the fact Tolstoy also made sure that they never had any money. At this point he had already freed his serfs, renounced his title, and given away most of his wealth to the poor. Instead of his wife and kids, he left the entirety of his estate and future royalties to the fringe Doukhobor spiritual movement. Tolstoy was selected for the first Nobel Prize in Literature in 1901, but he turned it down because he knew the prize money would complicate things in his life, What could a man with a wife and about a dozen children possibly need money for?

Infinite Jest (V?). Year of the Trial-Size Dove Bar. Poor Yorick Entertainment Unlimited. 'Madame Psychosis' ; no other definitive data. Thorny problem for archivists. Incandenza's last film, Incandenza's death occurring during its post-production. Most archival authorities list as unfinished, unseen. Some list as completion of Infinite Jest (IV), for which Incandenza also used 'Psychosis,' thus list the film under Incandenza's output for Y.T.M.P. Though no scholarly synopsis or report of viewing exists, two short essays in different issues of Cartridge Quarterly East refer to to film as 'extraordinary' and 'far away [James O. Incandenza's] most entertaining and compelling work.' West Coast archivists list the film's gauge as '16...78... n mm.,' basing the gauge on critical allusions to 'radical experiments in viewers' optical perspective and context' as IJ (V?)'s distinctive feature. Though Canadian archivist Tete-Beche lists the film as completed and privately distributed by P.Y.E.U. through posthumous provisions in the filmmaker's will, all other comprehensive filmographies have the film either unfinished or UNRELEASED, its Master cartridge either destroyed or vaulted sui testator.

Wat de spelling aangaat, even als in m'n andere werken volg ik nagenoeg de mode van den dag. "Niet, zooals ik zeide in 't Voorbericht by den vyfden druk myner Ideen, omdat ik den minsten eerbied voel voor de taalkennis der personen die heden-ten-dage zoo goed als officieel belast schynen met de bearbeiding van dat veld, doch om niet het oog des lezers aftestooten door vreemdheid van spelling. De soep zou de kool niet waard zyn." Zeker, wezenlyke taalkunde is heel wat anders! Toch heb ik ook hier de leelyke i-j die door sommigen als y-klank gebruikt wordt, voor goed congé gegeven. Tant pis voor de Hilaridessen die er om treuren. Dezelfde soort van lettermannen zullen waarschynlyk geen vrede hebben met m'n interpunktie. Ik met de hunne niet. Welnu, evenals—ik meen—Hildebrand ergens, geef ik hun een paar mud komma's ten-geschenke, om die te plaatsen waar ze goedvinden, tot er de verlangde slymerigheid en hun voldoening op volgt, amen.

Ik hoor het ijs hier kraken.

Ze hadden ijs na, met Kerst.

Frietjes met appelmoes en knakkies, met ijs, slagroom en nootjes, na.

Door land en zee. Door vuur en ijs. Door schaduw en licht.

young make foolish mistakes when they think they are in love. “You are quite sure he is guilty?” “Reasonably. We have ruled out robbery.

I don't mourn for the perished, I mourn for the righteous ones.

Perhaps it helps to see life as a test, to see if we're strong enough to fight against the dark and to fight for the light.

I find writing the most beautiful thing in the world, you can create a universe by a mere hand-movement.

There is no greater fear of imperfection than a writer’s fear.

There is beauty in what we love, there’s none in what we’re required to love.

There is a world of online people likely kinder than any soul you know in person. Don’t let anyone tell you they’re not real. They’re more than real, they’re fantastic.

Scars form us, it proves one's lived a life in which they had to fight, unlike a life in which everything is given.

Inner peace is found at the end of the road, where our dreams await us.

The road to Heaven leads through Hell. Will you make the decision whether it’s worth walking or will someone else make it for you?

You know why the light always wins? Because the dark tends to forget friendship is our greatest weapon.

I’m all for self-improvement, but if you have to become someone you’re not to get or keep a man, sis, he is not the one for you. IJS

Wherever we are, as long as we're together, we're home.

I tedeschi scrivono il mio cognome con la «w», gli americani con la «v»; quasi tutti – tedeschi, americani, francesi – lo chiudono in «y»; italiani e cechi con «ij», che è una forma più fedele alla grafia russa; per i polacchi – da cui provengo – sono semplicemente «Stravinski», senza strani segni né doppie vocali.

De bijen wisten het als eerste. Toen het ijs. Toen de bomen. Toen alle moeders van de wereld.

God was good that afternoon, and merciful. His world came in through our eyes and lived in our heads, and our thoughts went wordlessly out across the world, far beyond the horizon they went. - Out Along the Ij

Ik weet nog goed dat mijn vader op een dag een arm om me heen sloeg, het was warm, we aten ijs in de achtertuin, hij nam een hap van zijn ijs en zei dat hij het zo vreemd vond dat hij het decor was voor mijn jeugd. Hij zei dat hij en ik ieder moment, zelfs het eten van een ijsje, op een andere manier zouden herinneren. Hij herhaalde: in jouw verhalen zal ik het decor zijn.

THE SABBAT, TREGUENDA OR WITCH-MEETING— HOW TO CONSECRATE THE SUPPER. Here follows the supper, of what it must consist, and what shall be said and done to consecrate it to Diana. You shall take meal and salt, honey and water, and make this incantation: Scongiurasione alia Farina. Scongiuro te, o farina! Che sei i! corpo nostro—senia di te Non si potrebbe vivere—tu che Prima di divenire la farina, Sei stata sotto terra, dove tutti Sono nascosti tutti in segreti, Maccinata che siei a metterte al vento, Tu spolveri per 1' aria e te ne fuggi Portando con te i tuoi segreti! Ma quando grano sarai in spighe, In spige belle che le lucciole, Vengeno a ferti lume perche tu Possa crescere piii bella, altrimenti Tu non polresd crescere a divenire bella, Dunque anche tu appartieni THE SABBAT Alle Strege o alle Fate, perche IjC lucciole appartengono AIsol. . . . Lucciola caporala, Vieni corri e vieni a gara, Metti la briglia a la cavalla! Metti la briglia al figluol del t6 ! Vieni, corri e portala a m^ ! II figluol del i6 te lasciera andare Pero voglio te pigliare, Giache siei bella e lucente, Ti voglio mettere sotto un bicchiere £ guardarti coUa lente; Sotto un bicchiere tu staiai Fino che tutti i segreti, Di questo mondo e di quell' altro non n Sapere e anche quelle del grano, E della farina appena, Questi segreti io saprb, Lucciola mia libera ti lascierd Quando i segreti della terra io saprtS Tu sia benedetta ti diro! Scongiurazione del Sale. Scongiuro il sale suona mezza gibmo. In punlo in mezza a un fiume, Entro e qui miro 1' acqua, L' acqua e al sol altro non penso, Che a r acqua e al sol, alloro La mia mente tutta e rivolta, Altra pensier non ho desidero. Saper la, verissima che tanto tempo 6 Che soffro, vorrei saper il mio avenir, Se cattivo fosse, acqua e sol Migliorate il destino mio! 7Sb Conjuration of Meal. I conjure thee, O Meal! Who art indeed our body, since without thee We could not live, Ehou who (at first as seed) Before becoming flower went in the earth, Where all deep secrets hide, and then when ground Didst dance like dust in the wind, and yet meanwhile Didst bear with thee in flitting, secrets strange ! And

Ik heb veel nagedacht en ik wilde je bellen omdat ik denk ik eindelijk weet waarom dat de leeuw mij niet heeft opgegeten. Ik denk... want euh... Ik denk als de leeuw naar mij kijkt hij iets voelt. Ik denk dat ij voelt dat de dran van de leeuw om mij te doden niet sterker is dan de drang van mij om te leven. Ik denk dat de leeuw dat voelt en dat hij dan weg is gegaan.

Amarenen Kers en Malaga ijs.

Winter passed, spring arrived, hope faded.

Now he was only a short day’s ride from the capital and worried about what he would find. Akiko, the elder of his two sisters, had married an official during his absence and moved away, but Yoshiko was still at home. He tried to imagine his mother ill, her fierce strength gone, and

Ze was als uit glinsterend ijs gehouwen. En ik was als van goud, in vlammen gesmeed.

El inteligente creaba con su inteligencia la peste que asesinaba y la cura que sanaba, comercializando y adueñándose del ingenuo.

Stephen goldsmith reviewed Leading in Chaos: Insights to Lead through the Storms: Understanding Race in Public Sector Employment: Even those who think they understand the complexities of race and gender in the public sector work place will greatly benefit from IJ Neal's insights. She lived leading not just in chaos but in work places clouded by both overt and implicit bias. A very worthwhile read.

am forever reminded of the eight unavoidable sufferings: birth, old age, pain, one’s own death, the death of a loved one, evil people, frustrated desire and lust.

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Structure of the Calendar When we talk about the Mayan Calendar, we are really talking about two calendars—one that measures ordinary time, and one that measures sacred time. These two calendars interpenetrate in such a way as to integrate and synthesize the secular and sacred dimensions of reality. In this book we shall be primarily concerned with the measure of ritual time, usually called the tzolk’in and sometimes referred to as the Ritual Almanac or Divinatory Almanac. We do not know what the ancient Maya called this ritual or sacred aspect of the Calend a r . M o s t s c h o l a r s u s e t h e Y u c a t e c t e r m t z o l k’i n (f ro m tzol = count and k’in = day, hence "count of days"), but this term may not have been used by the Classic Maya and is in fact based on the equivalent K’iche’ term ch’olq’ij. 1 The tzolk’in is a unique method of reckoning time. It consists of twenty named days combined with thirteen numbers. Each day-name is repeated thirteen times during the Calendar cycle, for a total of 260 days (13 x 20 = 260). The twenty days, with their glyphs, directional correspondences, Mayan names, and some of their most common English meanings, are shown here as “The Names of the Days.

Toen ik op een dag de weg afliep, zag ik die kerel mij tegemoetkomen, en, weetje, ik had er een eed op kunnen doen dat hij het was, en, weetje, hij had er een eed op kunnen doen dat ik het was. We kwamen dichter bij elkaar en ik was er heel zeker van dat hij het was en hij was er heel zeker van dat ik het was. We kwamen nog dichter bij elkaar en ik was er verdomd zeker van dat hij het was en hij was er verdomd zeker van dat ik het was. Toen we nog maar een paar meter van elkaar verwijderd waren, was ik er volledig van overtuigd dat ij het was en hij was er volledig van overtuigd dat ik het was. En, moet je weten, toen we naast elkaar stonden, was het geen van ons.

came upon me so gradually, so very pleasantly, that I considered myself especially blessed. You see, I was put in charge of brewing

Zwart ijs... Witte beren, rood bloed. Ze zoeken het oog van de adder... In het oog gaan is in het donker gaan. Misschien kun je de weg naar buiten vinden, Wolfjongen. Maar wanneer je eenmaal binnen bent, zul je nooit meer heel zijn. Een deel van je blijft daar beneden. In het donker. - De Loper